#your characters through their actions words and how they perceive themselves and are perceived by others is the way to go

[peppermintspider]

I hate baby talk so much!!!!! Children don’t even talk wike dis. Yeah some of them can slur words a bit, or have a lisp, but mostly they just veer off into random tangents or onto different topics from another topic without bridging them first. Like that’s literally how they talk it’s not "Iwe am swo swo swad iwe cawnt pway wis my twoys wite noww:(((((" it’s "I really really really liked all those sharks I really wanted to get that shark why can we just play with the sharks why do they have to be all locked up. Jellyfish’s!!! I love jellyfish. I wonder if they smell bad" *stuffs cheerio in face hole and proceeds to wander off completely unconcerned with the one sided conversation* (read mumbled, change the speed that you’re reading in various increments, and the k’s soft).

If you shits really want to write small child characters then you need to show their age through their actions and words, not how they speak you annoying ass lazy ass motherfucker. Fucking hate baby talk. Makes me violently mad. Fuck.

Read the tags.

[slayingfiction]

Weak Words To Cut

Here are some weak words than you can often remove to strengthen your writing. I have made these changes as I edit my own novel, so I included examples from my writing to show you the difference.

When editing and cutting words, we are not talking about dialogue because everyone has a unique way of speaking, and it’s important to keep true to their voice.

Note: these are all general guidelines, and you don’t have to use all or any of them. Creative writing gives you a creative licence to choose how you write. Do what works best for you. Always.

Suddenly: technically speaking, everything happens suddenly, so use the word sparingly or it will lose its effect.

I don’t remember ever seeing a man in such little clothes before, and I suddenly despised the one piece left. I don’t remember ever seeing a man in such little clothes before, and I found myself despising the remaining piece.

Keep: When it disrupts your character’s life, and you want your reader to really take notice.

Cut: if removed and there is no change, then it’s not necessary

Then/Next: this is typically a filler word. All events happen in a sequential state, so it’s not always needed.

Then She was gone, her steps echoing through the halls.

Keep: You want to keep the word typically when something is changing in action, description, etc.

Cut: If removing the word does not change the meaning, then cut it. Typically if this word starts the sentence, it’s unnecessary.

Just: this is a filler word, and can almost always be removed.

I was just a game to him, nothing more.

Keep: if removing it makes your sentence confusing or changes the meaning, then keep it. Usually using the word words well as a limiter word. (Eg. it’s just me and my dogs tonight)

Cut: when it’s unnecessary and changes nothing.

Really/Very: these are weak qualifying/descriptive words, and you can absolutely find a better synonym

Your mother is really nice lovely.

Keep: typically these words are fine to keep when not used to enhance an adjective. (Eg. very next day, really think, very back of…)

Cut: if it’s being used to enhance a weak adjective, cut it and find a better word.

Is/Was: this is usually a passive voice, which isn’t usually the best for fiction novels, active voice is always preferred. Naturally this is a verb that you can’t cut from all places, so here are some tips.

Everyone was too busy focusing on their shopping to notice a human sliding between sales booths. Buyers and sellers occupied themselves with their shopping, too focused to notice a human sliding between sales booths.

Keep: when delivering information quickly its always best to just state the facts, so don’t worry about trying to find flowery words to describe everything.

Cut: If you can show what the person or object is doing instead of simply saying it, then change the sentence.

Started: every action has a start, so don’t write it unless you can tell me why it’s important now to know that’s it’s started.

The boy started to rant in his native tongue. The boy ranted in his native tongue.

Keep: if your scene is being interrupted or is still unfinished, then go ahead. This one is a little harder to see sometimes, so just see how you feel with it in vs removed.

Cut: it’s it’s unnecessary information, and nothing changes to the story or sentence when removed, axe it.

Seemed: again, this is more of a show don’t tell kind of thing

Time seemed to slow slowed as I held Vera tight against me.

Keep: if a character knows something intuitively

Cut: if you can show why the character is perceiving what’s happening

Definitely: this is typically just confirming facts that are already known to be true. Repetition is unnecessary without a purpose.

He definitely saw me, but I wasn’t mad about it. (This instance can for sure be removed, it’s unnecessary. However, I want this emphasis here, so I chose to keep it)

Keep: if it’s your character who is confirming facts as 100% accurate and ridding previous doubt

Cut: remove and nothing changes

Somewhat/Slightly: usually this is used when only trying to use a partial effect of a word, so the easiest fix is to change the word that it’s describing.

I looked away, slightly embarrassed.

Keep: if the words is truly the best way to describe what was happening in the sentence.

Cut: when you can use a better word to describe your action/emotion/whatever to be more accurate or it’s unnecessary.

Possibly/Likely/Probably/May/Might: much like some of the other weak words, these are just filler. Something either is or isn’t, and it’s best to describe here you can.

Probably Not with the way he was speaking to her.

Keep: if your character isn’t sure of something

Cut: if you can describe what’s happening, or it can be removed without changing the meaning

Somehow: this is usually an indicator of missing information

I thought I was an average girl in every way, and now I was somehow the first human to ever survive. (I don’t use somehow often. I am keeping it in this instance because none of the characters know how it happened yet.)

Keep: if your character is missing the information and doesn’t know how something became true or transpired

Cut: if you can explain how something came to be.

Adverbs: this is a great category of words to use in writing, but if used too often, it can distract from the story. A good rule is finding an even balance between adverbs and active verbs.

I squeezed her cold hand tightly in mine and made a promise to save her. Clenching her cold hand between mine, I promised to save her.

Keep: if it improves your writing by making it more clear and efficient.

Cut: if it makes more sense to use active verbs to describe what’s going on.

Totally/Completely/Absolutely: all filler words

He grinned at me, his plate almost completely full while mine was near empty. He grinned at me, his plate still full while mine sat devoid of even a crumb.

Keep: if it’s important to the story to know with 100% certainty, and this word gives the most accurate description

Cut: whenever it’s not needed

Thing/It: missing information/ lack of description

I was just accepting all the things they said as truth. I was just accepting all their fantastic explanations as truth.

Keep: if your character doesn’t know what it is

Cut: whenever you can find an actually description or name the object

Have any more words you think should be added to the list? If something does not make sense or you have questions, let me know down below.

If you’ve found this helpful: comment, like, reblog & follow for more :)

Happy Writing!

[xyxofspades]

Laurence Zvhal Classpect Analysis

Hello everyone and welcome to “Xyx mashes the mythos of their first fandom with the characters of their other first fandom because they’re so normal.” Wherein I classpect the characters of MCD to better analyze them, their actions, their relations to other characters, and their individual values, as well as their place within the canon. Classpecting is a typology originating from a webcomic called Homestuck. It is a wildly complex and intriguing system and can be learned standalone, meaning you do not actually have to read Homestuck to learn how to classpect yourself. I highly encourage anyone who loves character analysis to look into the intricacies of classpecting. This is a good document to start with, giving a general overview, but some nuances and teeny tiny minute details are left out. You can find more by doing a quick Google search and there’s tons of videos on YouTube. Introductions aside, let’s get into it-

Why not start with a fanatical fan favorite? You know him. You love him.

The Casanova of Meteli, The Mage of Rage, Laurence Zvahl

In Laurence’s introduction the very first thing he ever does in the series is try and flirt with Aphmau. Confused and taken aback, Aphmau immediately screeches for him to cool his jets, after which he introduces himself properly. His flirtatiousness is a behaviour he keeps up throughout the series. However, he himself identifies it as a mask. A character he puts on rather than himself, telling Aphmau “I guess I act this way because I’m not really interested in any of them. I just don’t know how else to conduct myself.” There is a common theme within the Rage aspect of the theatre. Alongside this mask he’s created for himself, Laurence often uses flowery, performance-like language. He uses pretty words like “alas” and waxes poetic almost as if it’s a part of him rather than an extension. He is a person who lies for the greater good. When Cadenza goes missing he says, “We’ll come up with some kind of story to keep everyone safe from the wrath of a father and lover.” He even uses the word story himself as though he’d rather put on some semblance of a stage play than tell the people nothing. 

The Ragebound are defined as bringers of chaos but in Laurence’s case, I don’t think he does it on purpose. The Ragebound are known to be “bringers of confusion and doubt.” While Laurence’s first ever action was to flirt with Aphmau his first words to her were actually “Oh my.” That is such a non-specific statement but it dredges up a sort of confusion and sinking feeling deep in your stomach if a man you had never met were to start a conversation with “Oh my.” It could be a good thing, maybe you look especially nice today. Or it could be a bad thing, what if there’s something stuck in your hair you didn’t know about. It turns out to be a positive comment when Laurence then proceeds to liken Aphmau’s beauty to a pearl of Atlantis, but for a split second, you’re unsure. 

The Extended Zodiac states that the Ragebound can be “frustratingly difficult to convince otherwise when they have attached themselves to an idea”. Laurence is a shining example of this trait. He attaches himself to the idea of Aphmau to haul himself through the process of becoming a Shadow Knight. He latches on to the idea of Aphmau so hard that when forced to say he does not love her by the king of the South-Eastern Wolf Tribe, he is physically incapable of doing so, leading to the order of his execution. 

The Ragebound also deal in absolutes. The way Laurence perceives Aphmau’s love for him is an absolute. He knows she will never love him the way he loves her. The way Laurence decided it was immoral for Garroth to keep his relation to O’Khasis a secret was absolute. You either tell her or I will, which resulted in a fight. His absolute conviction to staying by Aphmau’s side. The absolute madness of The Calling and the slaughtering of the wolf tribe. All of these things are things that Laurence cannot comprehend being undefined, uncertain, or ideas that need compromise. To him they are all solid entities, not necessarily easy to define, but most certainly definable. 

There is a common idea that the Rage aspect is when you add limitations to yourself and your decisions through fear, anger, or skepticism, and are prone to paranoia. Laurence does this constantly with his thinking of “No, I can’t be around these people. I’ll hurt them.” Laurence consistently and constantly lets his status as a Shadow Knight define what he can and/or cannot do. It’s honestly frustrating to watch. He pushes everyone to a distance because he believes that he has fundamentally become a pretty bomb. The Calling ready to take him at any given moment and him fearing that he’ll let it. 

But Xyx, doesn’t Laurence have a lot of Time-bound traits? Yes, he sure does!

Following the theory of overwriting aspects (such as Rose’s Light being infected with an overcharge of Void in the Homestuck source material) it can be theorized that the Shadow Knights all suffer from an overload of Time thanks to Shad practically pouring it down their throats like motor oil into an engine. Time is just as much an aspect of… well, time, as it is an aspect of death. The steady clockwork of one's heartbeat or the decaying of a body over infinite hours. 

The Extended Zodiac defines those bound to the aspect of Time as “fighters, full stop”, and that their lives are “often marked by struggle”. While this is true for Laurence, this is true for every Shadow Knight. The Timebound are also described as relentless problem solvers at their best and ruthless, defensive, and impulsive at their worst. Sure, these are all traits that can be applied to Laurence, but these are general traits that can be applied to plenty of characters. Laurence does not have the bigger traits of a Time player. Not without Shad’s influence. Laurence does not partake in any metamorphosis or reinvention. Not without Shad’s influence on him as a Shadow Knight. Laurence does not have a hand in death and decay without the death and decay Shad gives to all his Shadow Knights. The Timebound’s need to move to their own rhythm. For nearly all of season one Laurence crafts a persona to move deliberately to other people’s rhythm. Albeit his persona is different before and after his experiences in the Nether, he still creates one based on other’s view of him. First for the women of Meteli and then later as a strong, infallible protector when in reality he’s suffering through the confusion and frustration of what’s happened to him. 

I think we can sufficiently call Laurence a Hero of Rage. But what about his class? I think Laurence would best be described as a mage.

A mage is one who understands their aspect and who understands through their aspect. As such, mages experience their aspect differently than other classes. Unlike most classes who have to learn and fiddle with their aspect, mages just know. This is my biggest reasoning for the whole ‘Laurence doesn’t use Rage on purpose” argument. He’s so intrinsically locked into it that it’s a part of him. To him, the use of Rage is perfectly natural. 

Mages often suffer tragedy at the hand of their own aspect. In an incredibly small sense this is the confusion and bewilderment he causes everytime he flirts with Aphmau. It’s the turbulence from Garroth whenever he, again, flirts with Aphmau. In a more major sense this is the distress of Ungrth’s death and the unsettling choice Aphmau is forced to make when he comes back as a Shadow Knight and Garroth insists he upkeep the Guard’s Oath, putting Laurence’s life in her hands. 

Mages are also predisposed to be selfish. Laurence continues his advances towards Aphmau not because she reacts positively towards them, but because he finds them entertaining. He pokes at Garroth in Malachi’s castle because he wants Aphmau to know what Garroth is hiding. A mage is someone who uses their aspect to their own benefit and Laurence, for all intents and purposes, did benefit from those decisions. 

Classes are all connected to archetypes. The mage is connected to the archetype of the Prophet. This is the part where I remove us from MCD and into some real world connections. I’m talking about Laurence as The Blind Prophet. The Blind Prophet is a trope that shows up in many stories, the most popular of which being Tiresias in Greek mythology. 

Most of Tiresias’s mythology revolves around his sex change, which, hey. Trans Laurence? But putting that aside, Tiresias was a prophet of Apollo, who presides over music, song, dance, and poetry. So various aspects of the theatre? 

I am very confident in calling Laurence a Mage of Rage.

There’s a missing third thing though, his lunar sway. 

Lunar sway is far easier to determine. It’s based in how you see the world. Whether you lean more pessimistic or optimistic. That’s a bit oversimplifying, but compared to what the hell is going on with everything else it’s allowed to be simple. 

Laurence is pretty easily dropped right into Prospit. He’s personable, intuitive, and incredibly trusting of those he’s close with. Extroverts are often Prospit dreamers and his default temperament is nonchalant and amiable. 

Laurence’s debut episode was posted on May 5th. We don’t have any canon birthdays so for all intents and purposes I’m going to be using their debut date as their “birthday” to determine their zodiac. 

The Extended Zodiac puts Laurence, a Ragebound Prospitian Taurus, under the label of Tauricorn, sign of the Gratified. I didn’t talk about blood castes because it doesn’t exactly translate cleanly into MCD, but for all intents and purposes I’ll relay some traits of the Bronze caste copy pasted from the web page itself. 

“Bronze Signs have a warm and generous disposition, but you might not accuse them of it the first time you meet. They have a tendency toward being withdrawn and slow to open up with new people. This can make them come off as arrogant and cold, like they think they are too good for everyone, although the reality couldn't be further from the truth.They crave stability and safety, and if they have the means, their homes will be full of beautiful things. Some might accuse them of being hedonistic; they would probably just claim to know what they like. As lovers they can be quite needy, wanting assurances that the affection they feel is reciprocated.”

While a lot of these traits apply to Laurence, I wouldn’t call him withdrawn and cold upon introduction. That guy came in hot. I wouldn’t call him arrogant either. Also I wouldn’t quite know where to place the adjective “gratified” on him. 

Personally, even though Laurence doesn’t necessarily strike me as a Libra, I would put him in the Teal caste. This would make him a Libicorn, sign of the Dismantler. Once again pasting in some teal traits from the web page;

“Teal Signs are natural charmers. Social and flirtatious, they are great at parties and public speaking events. They aren't afraid to use their many engaging qualities in both personal and business ventures. They have a strong moral sense. Right and wrong are very obvious to a Teal Sign, and it can frustrate them that others don't see the world the same way they do. They have vibrant imaginations, and enjoy fiction and roleplaying, and often those games will resemble the lives they want to be living. Unfortunately, they have a tendency to get involved with people who are very obviously wrong for them out of a desire not to be alone.”

Laurence is an incredibly natural charmer. His strong moral sense drives a lot of his decisions. The way he interacts with Aphmau like it’s a game is a mockery of a life he would love to be living. If you have an interest in LaurGene then that last statement of getting involved with the wrong people is obviously for you. Lastly, dismantler is an adjective that is very easily applied to Laurence. I bring it up a lot, but again at Malachi’s castle, dismantling Garroth’s secrecy. Dismantling what it means to be a Shadow Knight. Hell, even his current plotline is whatever rebellion he’s got going on in the Nether to quite literally dismantle it. 

Laurence is a brilliant example of “not all Rage players are evil.” This is all speculation. If anybody has a different take on classpecting Laurence please hit me up on it! I would love to hear any counter arguments. I almost called him a Rogue.

[vitaminseetarot]

NaNoWriMo PAC: What Character Could You Write Into Your Next Story?

Hey y'all, arriving to the party fashionably late for my last installment of the PAC marathon. I've decided to take up the NaNoWriMo challenge this year and wanted to use some cards to generate new plots and protagonists for my fanfiction novel. Then I figured, why not pull up a few cards to see what kind of characters you could fit into your own creations? It could be for the month long challenge, or for something you're writing on your own time. It's just interesting to see what the cards bring up!

(Trust me, this PAC was planned! I'm actively working on my writing as I type, I swear ;D )

To help you choose between the piles, I have chosen four images representing a few of my unique gel and ballpoint pens. Pick a photo to find your mystery character below. Note that each pile allows for a variety of options as everyone writes a different story. I also included "MBTI" types as keywords though not all the types may be represented in these piles, it's chosen on intuition.

Pile 1, Black Pen - Clear Quartz Pile 2, Blue Pen - Mermaid Pile 3, Green Pen - Prickly Cactus Pile 4, Rainbow Pen - Cat

Pile 1: Black Pen - Clear Quartz

(Visionary, Sagitarius Moon - Optimism, The Sentinel, 71. Aplomb, Mix Tapes, Shadow, Mirage; 8 of Coins, XIII Death, 9 of Wands, Queen of Pentacles, 5 of Cups, 6 of Swords) MBTI Energy: ENTJ, ENFJ, ESTP, ESFP

Pile 1, your character is very likely the main character. Even if they become a supporting cast member, their personality has a chance to steal the show. Even if they're in the background, they may become the dark horse. Plucky is the word that comes to mind with their personality. They have a way of seeing the world and no one is going to mess with that level of clarity. This character is the type to see something through to the end, without cutting corners. They are the pollyanna type that smiles in the face of adversity and laughs in the presence of fear. They're full of life and fury, and will not let tiny things slow them down, though major obstacles may force them to come to a screeching halt. They have the inner fire to dry themselves off from a bad rainstorm and head out the next day as if it never rained.

This is the kind of character who leads or is somehow the representative of an empire or big league corporation. For all their power and potential, they still live in the shadow of someone greater, like siblings competing to be the best violinist, or a young woman becoming CEO of her mother's company. How they approach this issue is up to whether they become the Face or the Heel. A great fortune or privilege could be passed down in the form of inheritance, to which your character must deal with the backlash of being associated with such a predecessor. In spite of your character's perceived confidence, this challenge will inevitably slow them down and prevent them from being more help than they could be with their various resources. Events will have them rethinking their previous position and actions regardless of moral outlook, not wanting to deal with the harsh consequences that may come from making a wrong move.

There's a good chance this character will be dropped into an environment outside of their comfort zone, to a place or state that looks bleak, when it seems like it can't get worse. Their job may just be to hold light and offer comedy relief, though it won't be the comical character that makes a fool out of themselves. If others don't believe them, they will at some point, and they won't expect all this wisdom and profundity coming out of such a person. Your character may see something for what it is and offer relief and advice, or will learn how to use their expansive perspectives to help them out of difficult chapters. Other characters may or may not wish to take their advice. Comic relief is not to be confused as a two dimensional being who never feels sad or who can't acknowledge the dimmer aspects of life. There may be times where they even show grief and must find ways to work around said grief and bring their light forward for healing and community strength.

When the people of their community are ready to move on, this character will be there to wave the banner and forge the new path to follow. This is the energy of Moses leading people out of Egypt, except your character can't help but wisecrack along the uncertain and foreboding way. Whether main or side character, they'll be the type to shout "well, what are you all waiting for? Let's get to it!" and move out before anyone else takes the first step. They're the first in the audience to clap when they see something they know they like, not waiting for another's opinion. Whether they elevate or step down from their positions by the third act, they can offer boons to other characters in the story. They, in the end, can be accounted for their unique contributions, if not in resources then in sheer wit and boundless tenacity.

Pile 2: Blue Pen - Mermaid

(Warrior, Taurus Moon - Exaltation, The Diviner, 41. Nostalgia, Passing Notes, Pickle, Waves; II High Priestess, Queen of Cups, 2 of Swords, Page of Wands, Knight of Coins, 3 of Swords) MBTI Energy: INFJ, ENFJ, ISFJ, ESFJ

This character isn't just a warrior, but one with a big heart. Like a guardian of something sacred. I'm seeing Princess Mononoke and yet I'm hearing Xena: Warrior Princess theme music. This seems like someone who has strong psychic power or influence in nature or the community. They are not necessarily an expert at what they do, but it comes naturally to them. This power could have something to do with retrocognition, or understanding pieces of the past. It could also have to do with growing new things, planting abilities, or even a form of conjuration (manifesting from thin air). The power may be channeled through your character for them to pass on information to their tribe, their power may be simply transferring messages from another source. Or they could receive messages from another source on how to use their powers, and a special connection is formed in between.

Your character feels passionate and greatly motivated about what they do; they may not be a master of using their power but they could be on a good career track in your story, with a chance for elevated status near the end. Part of the plot could revolve around their gradual development and growth, particularly during challenging chapters or acts. It seems like your character carries a lot of youthful, can-do energy in spite of their position and in the current climate of their time. They may not identify as female but hold a lot of powerful feminine energy, like a lioness who knows when to relax and when to attack for the pride's sake. Their sense of boldness and strength is married with their heart based decision making. They consider the effects their actions will have before proceeding. They put their loved ones and overall mission ahead of themselves.

There could be blockages that come along, preventing your character from using their abilities. If they are prophetic, they may have to share bad news and receive a blow to their reputation, or like Kassandra not be believed by those most at risk. As a conjurer, they could slowly wear down their energy or be restricted from using it by dogmatic authorities. Or they could even risk using it for their own personal gain in a desperate enough situation. As a hero, they could learn to stay true to their mission, or as a villain choose to turn away. Why would they turn? To run from the pain of the past, or to make good on what they do to help others? Either way, your character will be made to confront different sides of themselves. They will be able to glean deep insight into what's happening around them, in a way that may not make sense to other characters.

As a neutral and minor character, they could represent a person who offers resilience during a hard time, dispensing advice to the protagonist. They can offer protection and development for your protagonist. They could offer food, shelter, and clothing. They could be the leader of a small troupe of soldiers who relies more on strategy and perfect timing than brute force. They would lead in a spunky manner, I'm thinking of the Lost Boys from Peter Pan in particular. Someone who's had to prove themselves in combat to be worthy of an elevated position, but doesn't let the status get to their head. They can stay grounded in by addressing issues that may have been brewing for long periods of time through bringing other characters together with a plan.

Pile 3: Green Pen - Prickly Cactus

(Rebel, Aquarius Mercury - Originality, The Painter, 38. Moving Forward, CDs and DVDs, Bubble Gum, Galaxy, Delivery Brown; Knight of Wands, 6 of Wands, I Magician, 9 of Wands, 4 of Wands, 10 of Swords) MBTI Energy: ENTP, INTP, ESTP, ISTP

This pile couldn't be more clear about your character! They are so straightforward in their pursuits. This is the character possessing some kind of genius or mad scientist potential. They may have made some form of alien contact or gain hold of ancient or future technology. This could be the kind of character who creates avante garde material that disrupts a social order. This is a character who could invent something that twists how their community sees everything around them forever. Time or space travel could play a role here, very likely involving futuristic worlds or gadgetry. Wherever they found themselves, this is not someone who wants to or likes to look back on their decisions.

Chances are, your character has a strong bond to either what they have or what they do. They may have to relinquish something, or travel to a time or space that does not gel with their knowledge or personality. This could cause them to feel lost or outcast from society or the group. A character that comes to mind is Peridot from Steven Universe, who had a very clingy and needy attachment to her technology. This is something that could be greatly challenged during the story. This is an already dynamic person, but someone who could easily turn arrogant and dogmatic about their approach if not tempered with some kind of setback. If they're used to pride, they will learn humility. If they are a hermit who can't open up about their inventions, they may be put on center stage to showcase it regardless of whether they're truly ready for the attention.

This is also giving off a bit of starving artist vibes, or there's a situation where, if you character is a creator or inventor, they can't get their creations out to the world for some reason. Doing so could likely create some net benefit for others, even if they don't understand it at first, but to do so there must be some level of overcoming the fear or defeat or rejection. They could have someone actively keeping the technology or creation away as they know what it could be capable of doing. There may be risk or overusing, overextending, overcompensating, or overestimating how the technology or science will help the community involved. Your character may come to this realization and perhaps decide to shelve or retreat their innovation on behalf of a request or demand on part of other characters to fulfill.

As a hero, they may learn to work through rejection and embrace their nonconformity, like Happy Feet. They may have to help the community with their inventions as a major sacrifice. Or as a villain they may act more like Syndrome from Incredibles, using their incredible genius to attain fame and status. They may serve as a metaphor for the risks of abusing knowledge and technology. As a minor supporting character, they may assist the protagonist using their genius brain or skills with different tools. They don't have to be an inventor--they could work with technology in other ways, like piloting a spaceship or working alongside giant mecha fighters. They may focus their goals on awakening others and bringing important concepts to light, even if they're doing it by traveling through time. The possibilities are as limitless as their mind.

Pile 4: Rainbow Pen - Cat

(Athlete, Gemini Moon - Adaptability, The Wise One, 18. Festivity, Arcades, Sunrise, Buzzfeed Yellow; 6 of Swords, King of Coins, King of Swords, 4 of Swords, 3 of Swords, Ace of Swords) MBTI Energy: ENTJ, INTJ, INFJ, ISTJ

Wow look at all these swords and two kings! This particular character means business throughout the ups and downs of life. Whether they arrive to the story in the beginning or close to the end, they will be known for their seasoned experience and heavy dose of wisdom. This is the type of character who would mentor the hero through applying steady by-the-books discipline, or the hero who runs to the mountains to train for many years. This is the energy of someone who stops at nothing to see their ideas turn to results, no matter how long it takes or how many sacrifices they must make in the long run. In spite of their wizened abilities, however, they may need to learn how to slow down and approach matters with a more gentle and cheerful touch. This character is a graceful combination of brain and brawn, with a good dose of heart at times like Uncle Iroh.

It could be that they take up martial arts and act as an instructor for a group of students. They could be more involved in intellectual challenges like chess and be viewed by others as a paragon of the game. They could be a successful lawyer who uses both their wit and their many years of experience at the firm to win their cases. They could be a military general who finds new ways to train rookies into becoming indomitable warriors. In whatever career they find themself in, this character will be seen as competent and good at remaining cool in scenes where other characters would panic. They are reserved about dispensing their wisdom to others, only wanting to say and do as much as is necessary to allow events to move. There is a cold and somewhat calculated demeanor present in this character whether they align with good or evil.

They may have an intimidating cover that belies a more vulnerable disposition. It could be that their focus on career and proficiency has cost them a few relationships in their life. This is a very James Bond type of pile, in the simplest sense. Bond is very much the ace but also the inevitable loner wolf. It's up to you how you wish to subvert or deconstruct his tropes. I also see Sanji from One Piece in this pile. This is a type of character who, if emotions affect them in any serious way, it will be through powerful and difficult ones to overcome like grief, regret, and need for vengeance. They may be utterly driven to win in spite of who gets hurt. They could be the type to play very neutral, or even on the side of good, until push comes to shove, until someone they care about gets hurt. This is the kind of character who cherishes past relationships deeply because they are often the only thing they have to hold on to when they're used to leaving the rest behind.

This character knows how to easily move from place to place, finding a new undercover job to do or trying to stay on the run from evil organizations in hot pursuit. They may or may not necessarily enjoy the traveling, or constantly changing identities or lifestyles in order to accomplish their goals. They may travel from remote places to train, but miss something hidden in plain sight which will give them some important key to advance the plot. This hidden thing likely involves relationships, or healing from past trauma. This character must look into their own inner wounds in order to be the strongest kind of teacher or provider for others. Their heartache can give way to finding the heart to stand up for good, or consume them into a toxic side. But it will be a deciding factor in their development. This character is no stranger to hardship but it's up to individual choices that bring them to where they end up. If they do have a happy ending, they may finally get the chance to warm up and join the rest of the cast in their merry denouement, if they do not go the way of the noble sacrifice (but if they do they may be greatly honored for it).

This reading has not been evaluated by the FDA to diagnose, prevent, treat, or cure any disease or infection. Please ask your physician before going online.

2023, @VitaminseeTarot ™

[letterstoear]

In response~ A letter from Akutagawa

Notes: Akutagawa x reader, fluff, reader works with Ango and has worked undercover at the port mafia prior to this letter, isn't very in character, so forewarning

Check out my shop here: Shop — Letters to Ear (squarespace.com)

To my _____________,

Your love letter towards me was… something. I expect no less from the person who drowns me in their love towards me. However, I was upset to know you had no expectations of me writing back to you. Do you see me as someone who’s that incompetent at writing a love letter? __________, I’ll show you the love I hold for you into words.

__________, when you reached out to me in the name of love, I blocked you out. I never perceived anything you did as an act of love. To me it was nothing. Those poor attempts at giving me advice on how to get better were deemed worthless to me. It was too sweet and gentle. Something unfit for me. I believed all on my own that you saw me as someone weak and unfit to support you.

This tunnel vision I have only became clear after you screamed into my face, yet that was the very day you left. The day you unveiled to me your true self, a pawn working for that man in glasses. I was so certain you walked out of my life only to leave words sharp enough to slash through me. What’s more is I concluded every single action you accomplished was for your own scheme.

The mission you were assigned had been sealed to perfection, there was no place left for you here professionally. Except a reason for you to stay personally remained. To be properly rejected by none other than myself. Really, I don’t get you, who confesses to someone knowing they’ll get rejected.

At that time, I screamed “what is it that you love so much about me?”

Not once did you hesitate, everything rolled off your tongue seamlessly. A flowing river of your true feelings to me. There was something so clear about the way you talked, I could tell you approached me honestly like a fool. That was when I became aware you love me.

Those starting days are all in the past now. I’m certain of it. Seeing as how things are now, I know you’re grateful you played into this affair for the long run. The same can be said for myself. You who was unreachable to me, despite giving themselves to me, is now firmly beside me. That is how I feel.

In the end, part of my heart remains stitched up, but not all of my heart. There remains room for you. _______, even as time fades away for the both of us, I doubt there will come a time when I no longer yearn for you. From the day those harsh words had been said I already started to yearn for you. Perhaps it wasn’t in a romantic way, but now my knots of romance are unfolding. Bit by bit.

Surely, you’ve realized this by now, ______, you’re my heart. Just wait beside me and I’ll continue to show you this love which you’ve unraveled.

With certainty,

Ryunosuke Akutagawa

[sas-soulwriter]

How to write an OC with an big ego!

Ever wondered how to write a character with an ego the size of Mount Everest? Well, look no further! here is how I would do it. ( With examples)

Example person : Alex

Motivations Matter: Behind every egoistic persona lies a set of motivations that drive their actions. Unpack their backstory and understand what fuels their need for validation, power, or attention. Dig deep into their past experiences to unveil the root of their ego.

Example: Alex's ego was a result of childhood struggles, growing up in the shadow of a successful parent. The relentless pursuit of success became a way to prove worthiness, and the glossy exterior was the armor against past insecurities.

Flaws Galore: No one's perfect, and egoistic characters are no exception. Give your character flaws that stem directly from their inflated ego. Maybe they struggle with forming genuine connections or have a tendency to dismiss others' opinions. Flaws make characters relatable and grounded.

Example: Despite the impressive exterior, Alex's ego came with a flaw – an inability to acknowledge the contributions of others. The team's victories were claimed as personal conquests, and any failures were promptly blamed on external factors.

Voice and Dialogue: The way your character speaks is crucial. Egoistic individuals often have a distinct way of expressing themselves. They might be boastful, use grandiose language, or constantly seek attention. Pay attention to their tone, vocabulary, and speech patterns to make their ego shine through.

Example: "I don't build companies; I create empires," Alex declared, the tone commanding attention. Conversations were peppered with grandiose phrases, each sentence meticulously crafted to reinforce superiority.

Internal Conflicts: Explore the internal struggles your character faces due to their ego. Do they ever doubt themselves beneath the façade? Are there moments of vulnerability? Internal conflicts add depth and dimension to your character, making them more than just a one-dimensional ego machine.

Example: Behind closed doors, doubts crept in. Alex wrestled with the fear of inadequacy, wondering if the empire built was as impenetrable as it seemed. Vulnerability lingered, hidden beneath the layers of arrogance.

Show, Don't Tell: Instead of explicitly stating that your character is egoistic, demonstrate it through their actions. Showcase their need for admiration, their competitive nature, or their unwillingness to admit fault. Actions speak louder than words, especially in character development.

Examples: Rather than outright stating achievements, Alex casually dropped impressive anecdotes into conversations, leaving others in awe. The need for constant validation manifested in the subtle but unmistakable bragging woven into everyday dialogue.

Relationship Dynamics: Consider how your egoistic character interacts with others. How do they treat people they perceive as beneath them? How do they handle competition? Explore the dynamics they create in relationships to reveal facets of their ego.

Examples: Subordinates were either loyal subjects or inconsequential pawns in Alex's eyes. Competitors were met with thinly veiled disdain, each encounter a battle for supremacy. The wake of shattered professional relationships told tales of a cutthroat ambition.

Redeemable Qualities: Even the most egoistic characters can have redeemable qualities. It's essential to humanize them by showcasing moments of kindness or vulnerability. This complexity makes your character more interesting and adds layers to their personality.

Example: In rare moments, Alex's guard slipped, revealing a philanthropic side. A secret fund for employees facing hardships, a gesture that contradicted the public image. These glimpses hinted at a person beneath the towering ego

[eddiediazismyhusband]

Sorry if this has been asked before but thoughts on ace and/or aro spec Eddie? Because it is near and dear to my heart. Especially with everything we’ve gotten both on screen and in interviews from Ryan.

I have not gotten this question before!

I would like to preface this by saying that I am not aro/ace so I am speaking in what my understanding of the asexuality spectrum is from my ace friends, so i apologize if I misspeak or say something that is not entirely accurate to the experience of ace/aro people.

Obviously, everyone is entitled to their own interpretations of fictional characters, and I am never going to tell someone they are right or wrong for their interpretation of a character’s actions. However, I personally don’t view Eddie as aromantic, and if I were to place him on the asexuality scale, I would place him more towards demi-sexual than completely asexual. We know Eddie enjoys sex, but he still has a very complicated relationship with it when it comes to the women he has been with, and that could be for a myriad of reasons.

Of course one of these reasons could be that Eddie simply thinks he enjoys sex bc he grew up in a repressive religious environment where he was probably to scared to feel any other way, meaning he could very well be asexual and his seeming enjoyment of sex could be an act he puts on to ignore the part of him that he is repressing.

As a gay eddie truther, I believe this idea partly bc I believe he is trying to convince himself he is into women because that’s what he grew up to be taught that men should be attracted to women. However, I could see this being a pathway for Eddie to be introduced as somewhere on the asexuality spectrum, my personal belief being that he would lie more towards the demi end.

As far as him being aromantic, i personally don’t see this. I think we have seen plenty of times from Eddie that he craves that connection with someone but he actively sacrifices his own desires because he thinks he has some obligation to finding a mother for chris. I feel like what Kim said to Eddie in 7x9 about Eddie having too much love to give is true because he so badly wants to be in love with someone for himself, but he has convinced himself he can’t gave that because he views Christopher needing a mother figure as the more important quality in his romantic partners.

All of this to say, these are just my own thoughts and observations. I am obviously biased as a gay person who relates deeply to eddie for many reasons, and so my interpretation of his actions/words are through that lense. It’s hard for me to really see him as anything else, but just because that is my interpretation does not mean it is the only interpretation or even the right or wrong one. Until we get some form of confirmation from canon that Eddie is queer (which i think is very very very likely to happen this season) all we can do is speculate and theorize based on our own personal interpretations of him as a character— and i think that goes along with Ryan’s quote about how much he loves that such a wide range of people can see themselves in Eddie; and i think that no matter what, he is such a powerful and complex character that no matter what sexuality he ends up being confirmed as in canon so many fans of different sexualities and gender identities will still be able to find that deep connection with him and that is so beautiful to me.

I hope this answered your question! I love getting to have these kind of deep talks that dive into the complexities of human sexuality and all the nuances that come along with it (which is why i almost love the idea of them making Eddie unlabeled even though I personally perceive him as gay!)

I hope you have a lovely morning, afternoon, or evening wherever you are! and thank you again for the ask 💕💕

(again, apologies if anything i said misrepresents/misunderstands the aro/ace spectrum, it is not my intention to say anything that is incorrect, but I am not well-versed in the aro/ace spectrum aside from my ace friends)

[stranger-rants]

Jason seemed genuinely devastated when Patrick passed away. Pushed even further off the rails then he already had been. Do you have any thoughts on that? Was it possible he played up his upset in order to get the cops on his side (he was found alone with the body after all) and then rally the town? Do you think he perhaps kept around a POC friend so hide his racist tendencies or simply because Pat was a good basketball player? I'm not in any way saying he is not racist or that, that is something I think. I definitely believe you're right. I'm just really interested in your answers and the character study side of things.

See, something doesn’t sit right with me how Patrick became Vecna’s target. I mean, yes. It’s Vecna’s M.O. to target vulnerable, abused teenagers. However, the choice to make that vulnerable, abused teenager Patrick - the only other black teenager with any significant lines other than Lucas and Erica - was a weird choice to make given that his death was then used to further fuel Jason’s unhinged attack on the Hellfire kids, despite Jason’s words and actions including racist dog whistles, white Christian nationalist talking points, and a literal lynch mob. Regardless of his feelings about Patrick’s death, his words and actions are still racist.

I’ve said before that their treatment of Lucas is weird, because why make your only black main character out of the nerdy boys complicit in this kind of harm? Patrick’s death on top of that feels like a way to try and divorce this plot line from its racist overtones to shift focus to nerds as the true victims of systemic violence. It truly plays out like an oppression fantasy that The Duffers are trying so hard to play into, which is something that especially “nerdy” white men perceive themselves to be a victim of and what “nerdy” white men use to gate-keep their “community” from people of color and/or women.

I know I am approaching this from outside of the story. However. It’s difficult to analyze the actions of the characters within the story without doing so because so much of The Duffer’s biases play out through their characters and their intentions for these characters don’t necessarily align with how they’ve actually been played by the actors. Do I think Jason cared about Patrick? Maybe, but Patrick as an abused kid still couldn’t rely on his “friends.” Chrissy certainly couldn’t rely on her boyfriend to understand what she was going through. Ultimately, these characters are treated like accessories to Jason who use their deaths to play a role he seemed all too eager to play.

[hairpintvrns]

TERRY LOWENSTEIN — TASK 001. PERSONALITY

MBTI — THE LOGISTICIAN (ISTJ)

People with the ISTJ personality type (Logisticians) mean what they say and say what they mean, and when they commit to doing something, they make sure to follow through. With their responsible and dependable nature, it might not be so surprising that ISTJ personalities also tend to have a deep respect for structure and tradition. They are often drawn to organizations, workplaces, and educational settings that offer clear hierarchies and expectations. (source.)

86% INTROVERTED 14% EXTRAVERTED

64% INTUITIVE 36% OBSERVANT

78% THINKING 22% FEELING

82% JUDGING 18% PROSPECTING

44% ASSERTIVE 56% TURBULENT

MORAL ALIGNMENT — LAWFUL NEUTRAL

A lawful neutral character acts as law, tradition, or a personal code directs her. Order and organization are paramount to her. She may believe in personal order and live by a code or standard, or she may believe in order for all and favor a strong, organized government. Lawful neutral is the best alignment you can be because it means you are reliable and honorable without being a zealot. Lawful neutral can be a dangerous alignment when it seeks to eliminate all freedom, choice, and diversity in society. (source.)

5 LOVE LANGUAGES TEST — ACTS OF SERVICE

Your Love Tank overflows with Acts of Service. A thoughtful, selfless deed or gesture is sure to win your heart. When a loved one goes out of their way to make your life easier, you feel connected to them. An act of service communicates that you are their top priority. Actions, for you, speak louder than words. (source.)

ENNEAGRAM PERSONALITY TEST — FIVE

Fives are alert, insightful, and curious. They are able to concentrate and focus on developing complex ideas and skills. Independent, innovative, and inventive, they can also become preoccupied with their thoughts and imaginary constructs. They become detached, yet high-strung and intense. They typically have problems with eccentricity, nihilism, and isolation. At their Best: visionary pioneers, often ahead of their time, and able to see the world in an entirely new way. Key Motivations: Want to possess knowledge, to understand the environment, to have everything figured out as a way of defending the self from threats from the environment. (source.)

FOUR TEMPERAMENTS TEST — PHLEGMATIC

Phlegmatic individuals tend to be content with themselves and are generally kind and considerate. They are often perceived as the type of people who go with the flow, displaying patience and a relaxed demeanor. They are more introspective and inward-focused than the other temperaments, and may require more time to process their thoughts and feelings. (source.)

ZODIAC SIGN — CAPRICORN SUN / CANCER MOON

A famous Capricorn-Cancer was Janis Joplin who had a tough, working-class image that was actually just a disguise for her authentic depth and sensitivity. In this combination the Sun and Moon are in opposite signs, so most likely your early environment was quite poor or even heartless. This nurtured in you a strong sense of self-sufficiency and autonomy as well as a cynical outlook. You attempt to maintain a hard, rough, calm, and removed image on the surface, but notwithstanding that casual air, you are actually a very tender and emotionally susceptible person. (source.)

CELTIC ZODIAC SIGN — THE BIRCH

People who were born in this sign came to life in darkness. That is why they grow up to find light in everything. Birch people are always motivated and ambitious. Such drive is contagious that even your friends and family are inspired to reach for more. This Celtic astrology sign is also resilient and persevering, with a deep understanding of how things work. You don’t experience any form of despair, anger, or misery after a single failure. This cool-headedness makes you a great leader capable of finding loyal followers. You know how to turn a barren space into an empire. (source.)

[siswritesyanderes]

it should NOT be a hot take to recognize that smeyer is just... a really bad writer. even if you love twilight, you need to be able to understand how shallow it all is. the characters, the plot, etc. every time i bring any of that up to a twilight fan they get super defensive and they shouldnt imo 😭😭 she just doesnt know how to write characters with depth and flaws and an actual backstory and thats literally a big part of the charm

Lol, I'm 🤐🤣

There were some ways in which she succeeded in telling the story she cared about telling, and I have some amount of respect for specifically the fact that she was clearly just kind of doing whatever she wanted (Like, "I don't want to write action scenes, so I won't."), but the ways in which she failed to think of her characters' actions or behavior from anyone else's perspective seriously harmed a lot of what she was trying to do, which is why we get a lot of characters being praised for traits they never demonstrate and a lot of characters being disparaged for traits they never demonstrate, etc. The thing is, she knows how to write her protagonists being flawed, but she doesn't quite know how to perceive the flaws as such in any real way, which is why any character who holds something against the protagonists is wrong and also bad.

For me, I don't mind her areas of ineptitude in and of themselves, but a symptom of her self-centered writing style is that we end up with a lot of casual racism and "If you're not a baby factory then you're not a woman" stuff, which became a steeply increasing problem as the series went on. Like, if it was just "A lot of the wording is very silly," or "She is clearly writing this with a target audience of Stephenie Meyer," then honestly Steph live your truth and write your self-indulgent teen fantasy, but a lot of the stuff that stowed away there was super insidious.

I wish I could just have a comprehensive list about everything people have complained about Twilight for and just go through it one by one and say whether it's actually a problem. Like, the sparkling? Awesome. I love it. The child grooming? If there was a good way to handle that concept, it was certainly, certainly not used!!

[chocolate-biscuit]

Hello, nex-reblog-fest coming in, here to ask about the Tomura & Hawks parallels through your eyes 🫶🏻

Please serenade me !

Hello! I'm glad you saw the tags ^^

I really like the topic but I think I should say I'm not a meta writer like some other amazing blogs around there. I'll try my best, especially to remember all the details I can think of.

We know and we saw in the manga AFO took advantage of a scared, abandoned child who was on the streets after accidentally murdering his family and society didn't stop to help him. AFO groomed said child into following a path of hatred towards the heroes - when the same kid wanted to be a hero himself - and convinced Tomura he was born to destroy (I'll come back to this).

Hawks, too, was found on the streets, with his mother: both were in a extremely vulnerable position, and the Hero Commission used their state of poverty for their purposes. We don't have much details on how the Commission raised him (hopefully we'll get them before the manga ends), but we know from Nagant's backstory they surely indocrinated him and exploited his will to be a hero (the narration once mentioned "interpersonal skills drilled into him from a young age by the Safety Commission" - ch. 258). No child can give consent to "rough training".

Essentially, both characters were groomed/indocrinated by another entity/institution, who took advantage of vulnerable children in order to satisfy their goals. If Tomura was groomed by the "villain side", Hawks was indocrinated by the "hero side". Story repeats itself.

I've seen many considered (and still consider) Tomura in MVA as liberated and the other characters - namely Re-Destro in his narration - thought he was free of everything; however (and I don't want to go into details when Shigaraki focused meta blogs already analized the chapters), he fell into a path that took him straight into being literally possessed.

Even now, in recent chapters, he appears to be free from AFO's control, but the AFO vestige is not completely defeated and the real AFO will approach Tomura and Izuku soon; not to mention Shigaraki is still believing he wants to destroy everything and that will be his only salvation. Again, just how AFO groomed him to think.

Something similar happened with Hawks after the PLW arc: we see Keigo, at his mother's house, saying he actually abandoned Tomie and that's for the better; no one and nothing is holding him back, especially since the Commission can't give him orders anymore ("I'm free... of my shackles" - ch. 299) . It would sound great, if only it hasn't been said during a conversation ambiguous at best in the manga and downright insane in the anime.

Hawks is still working as a hero, has shown to be willing to sacrifice his life for Endeavor and the kids, is written as more and more insane with each chapter that comes out. If at first he was ready to tain himself for Japan, now he's ready to tain himself and die "for the kids' sake".

Back to after the Pro-Hero arc, we see Hawks recalling the conversation he had with Madame President and her associate stating "there's no better man for the job" (ch. 191) to infiltrate the LoV. And Hawks accepted - knowing he couldn't refuse, and said as such.

It seems both Tomura and Hawks are, to some degree, aware of how AFO/the Commission raised them, but the grooming runs in so deep they still live in a state of denial - for a lack of a better word to describe it.

Another similarity between the two is how they perceive themselves. I mentioned twice how Shigaraki views himself as "born to destroy" and Hawks, similary, thinks he was "born with dirty wings". If I remember correctly, Caleb Cook in the official English translation implied Hawks dirtied his wings with his actions, but the Japanese text implies his quirk was already that way. So, when Hawks claims he will tain himself for others' sakes, he knows he's already tained for his quirk. He was born like that.

These characters nurture hatred towards themselves, with Shigaraki accepting there's no saving him - despite desperately wanting to be saved - because he was born this way, that's what he wants; and Hawks committing immoral actions and putting himself on the line, while showing since he was introduced he has extremely low self-esteem, and considering himself tained - what is another stain anyway, if it's for someone else's happiness.

I'm sorry if I didn't show manga panels, but I've already spent a while writing this and I don't want to give it another hour. English is not my first language, so it's slightly more challenging to write fluently enough (I'm used to shitposts and very few smart takes anyway).

Hawks is, ironically, much more similar to the LoV than the pro-heroes, even if he's a pro-hero as well; it's pretty interesting to go into deeper details.

Thank you so much for giving me the opportunity to talk about Tomura and Hawks. I truly appreciate it.

[highviews]

CHAPTER 2: Bluebells WORD COUNT: 5.3k TAGS: Slow Romance, Business Partners to Lovers, Awkward Flirting, Romantic Tension, Sexual Tension, this is going to be so sappy and delicious prepare yourselves, Original Character(s), Reader Has A Name, Politics, Eventual Smut.

The amount of letters William Vangeance has to sift through on the days within his office is one too many. Most of them had come from Julius, who was the biggest perpetrator of them all.

He goes picking through which he will need to answer quickly versus the ones that really carry no substance or worth wasting ink over.

‘William, please ensure that you will attend this month’s meeting,’ of course. It’s already well documented in his schedule. 

‘William, remember to come out and enjoy a nice dinner at the palace with the king to arrange for meetings with eligible noblemen to discuss your future heir.’  Absolutely not. 

William exhales, trying not to appear distressed over such small matters. His father's council already pushing themselves too far into his life. He stands up, wanting to get away from his desk for a breather and to oversee the window of the Golden Dawn’s headquarters. 

It's a strong, beautiful palace that was contributed by the nobleman, who have been supporting their knights for as long as he’s been captain. Since creating the Golden Dawn, he's upheld it to be the most vigilant and high ranking of all the Magic Knight groups. They have become renowned all over Clover Kingdom, bursting at the seams with accolades by all in each realm. Those usually come at a price. Some perceiving them to be a certain way. 

Being among the high-class society for so long, William seemed to have forgotten how things looked on the outside. It’s been business meeting after meeting, all according to the King himself and Julius’ reputations. He searches for the tulip, and sees the red flower next to the shrubbery of roses. 

A tulip amongst roses. He had been a lot like that. His father, a nobleman, had an affair with some random mistress who had conceived him. His father took a liking to him, but the noblewoman of a step-mother did not care for him in the slightest. 

‘He’s hideous. A cursed child.’ She had said. She recoiled at the sight of him, not sparing him any glances or wishing to treat him like her own. It had been a life of hell. One he never wishes to go back to. William had struggled his way to the top. He had earned his seat at the table, but still even among his own captains, he feels like the odd one out. Only his members of the Golden Dawn really respect him for who he is, or so he hopes. 

He thinks of Aveline, her bright smiling face, the quirk of her eyebrows and her flower shop. She had a great passion for it. It was a sight to behold when he stepped in. He’s been thinking of the lady for sometime now. 

Something seemed to pull him back to the common realm. A part of him didn’t want to think too deeply about Aveline. His thoughts of her causing him to get lost on certain matters. He dreads the upcoming meeting with the council. William knows fully well what they will demand from him. It's something he cannot put off any longer though. He's already avoided their invitations for the last five months. 

Alecdora steps into the threshold, knocking on the door to alert William out of his introspection. “Sir Vangeance, we need to depart soon to the– sir?” He pauses, noticing that William looks rather far away. 

“Alecdora, you may take Letoile and Langris with you. I am going to take my leave and see Julius.” 

Alecdora’s raises a curious brow. He feels perturbed by his Captain's orders. “You rarely change the course of action so quickly, sir?” 

William smiles. “No need to think about it. I’ll send a transmission at some point if there’s anything new, understood?” 

His knight glances away and back at him again. “If you’re so sure, then we will meet back after.” 

“Very well,” William says, nodding. Once Alecdora leaves, he takes his cloak, glancing back down to the Golden Dawn gardens where the single tulip lies. Perhaps he can gather another from Flora’s sooner than he thinks. 

“To the common realm? On active duty?” Julius ponders over the suggestion. At the moment, it's up in the air. 

William had arrived and given him an entire spiel on the common realm matters. Perhaps to do more work with the merchants and on trade. “We could strengthen the community that way,” William finishes. Julius blinks, clearly surprised by this notion. 

“I never thought of you to go out there now, William? Aren’t you needed with the nobles? They’re discussing specific matters?” 

William doesn’t budge on that. “I can push it aside for now. I’m not going anywhere as far as they know.”

Julius frowns. “It’s all the nobility can focus on.” 

“True, but I can convince them otherwise to keep the matters of marriage and sex out of their minds.” 

“But what’s got you so interested in the common realm?” A flash of dark hair and flowers comes to mind, but William pushes it away.

“Business,” he responds simply. 

Julius after his small interrogation finally agrees upon William to leave within the next day for his stay in the common realm of Kalva. His old captain and mentor trusted him fully for the job. 

“There're no stars involved in this. I call it a personal day or week. Take as much as you need. Bring back anything interesting you may see!” Julius had requested, and that was it. 

He’s glad he hadn’t asked anymore questions on the matter. For all William could think about was Aveline. She would suddenly appear in his mind’s eye. Her curious expression, her smile and even the harsh look she had given him when Langris and Alecdora had treated her a certain way. It had been bugging him ever since. He wanted to make it up to her, he doesn't know how exactly. Every time his mind would flicker towards Aveline it filled him with a specific sort of joy. An indistinguishable feeling. One he has never felt before. 

William felt glad to get away from the headquarters for a time. It had been too long since the last visit to the other realms. Usually, he never gets to do something like this. 

He could finally set out on seeing Flora’s again, but first he’d have to head to his old castle to sort out some dealings with the noblemen there. They hadn’t been so unkind to him, but they had definitely demanded more from him than he could give them. 

William just needed to talk to them to be sure that he will rule as heir for some time, and not to worry about any future marriages. Marriage was off his radar at the moment. They needed to understand that. 

His title as captain of one of Clover’s highest ranking knights took up much of his schedule, anyway. 

He knew for sure Alecdora would message him a spell sometime soon on where he went off to. Hopefully, this mission will be enough to distract them. 

Aveline has been in a fuss. 

The shop had bouts of a slow day and it threw her for a loop. She worked tirelessly all evening on her displays, much to her father’s displeasure. 

“You mustn’t let your work consume you,” he had warned previously. She didn’t listen, she never does, without work what could she possibly do? Aveline continued on as if she had heard nothing he told her. 

Now, it seems she should’ve heeded his warning. 

Aveline fumbles over one of her arrangements when a sudden ring comes from the front of the door. She freezes, looking up to see an older gentleman with a rather nasty cut on the upper part of his lip. 

She brushes her hands on her apron and steps towards him. 

“Hello, good sir! What would you be looking for today?” 

He saunters over, his finger gently tracing over a dahlia. 

“Nothing of substance,” he responds. A simpering expression on his face. “I do wish to congratulate you on such a beautiful shop.” 

Aveline blinks, a little taken aback. “I see. Thank you for the appraisal, sir.” 

He would be a good-looking man had he not had such a harsh aura surrounding him. Something about him is unsettling. 

The man leers at her, giving her a once over, slowly making his way back up to meet her own eyes. He looks almost as if he wants to sample her. She grips her apron a little too tightly. This isn't the first time, but something about him is just off-putting. 

Aveline bites back a retort and a snarky comment. She can’t let him see he has the upper hand. He'd know. 

“Well, I’ll be going off again, Miss. I hope to see you here on many days after. It's my pleasure.” He tips his hat and leaves with a final flourish. 

Once she sees him leave, she releases a sigh of relief. His presence seems to still linger well after the mysterious man leaves. A dangerous feeling surrounding her shop. 

Aveline focuses more on sketching loose depictions of her displays for the next few days. Even if there’s a damper to doing what she does and there’s no resolution to her hard work, she must continue as if nothing is holding her back. She must. 

William arrives at the small town of Kalva. Kalva resides here on the north side of the common realm. He hadn’t gotten a good look when he was originally passing through with his knights, but now he can really appreciate the stone houses. The bustling streets are full of merchants and children running around. 

He quickly makes his way down to the place he’ll be staying at for a while. 

Then, a minor disruption frees him of his thoughts. The captain suddenly has quite the audience when people seem to stop in their tracks and gaze upon him. They look at him in awe and wonder, their whispers swirling into his ears. 

“It’s the Captain of the Golden Dawn!” 

“I have never seen a Knight this close before, and not even a Knight this popular!” 

The exclamations were coming from all sides and William could only do his best to nod kindly and smile politely. Usually he’s used to having this kind of attention even in the Noble parts. Typically, the attention would be directed towards Yuno or his other fellow knights, who also take up more of the excitement. 

When it's just him, he understands exactly why he ends up not accompanying his members for this reason. This sort of attention was not something he enjoys. Langris seems to relish in it, but William, a lot like Yuno finds it to be more than a little unwelcoming.

He gets closer to the stone inn called the King’s Echo. He steps into its archway, already seeing a clear window to where the registrar is. 

The old woman at the front of the desk greets him politely. “Hello, sir. One bedroom stay?” 

William gives her a placating smile. “I’ll be here for longer than just one stay, Miss.” 

The woman looks a bit surprised, but schools her features into a content expression. “Always nice to have a knight stay here. It shows nobility not to fear the more common areas in the kingdom.” 

His expression drops at that when she sets him up for his stay. Is nobility so bad that they don't even stay within the area? He tries to think of his knights doing such a thing, but they never do stay for long in the lower realms. He feels a bad taste in his mouth at the thought. 

When William gets his room key attached to a piece of leather, he heads up the creaky stairs as the old woman lets him know of all the complementary resources for his stay. 

“At King’s Echo, we provide the most efficient stay. In here you will have a warm bath drawn, a nice cot and a few drawers to keep any clothes or materials. Breakfast is from dawn to midmorning and dinner is during sunset.” 

William tries to pay attention to all she says, but fears he may have lost some of it along the way. Once he’s in the safety of his room, he relaxes. He begins a plan of action. Why did he come here? He mulls over every detail that’s gotten him to this situation. 

He had fully been in his right mind when he asked to come here. An opening for business negotiations would be the best for the Knights especially to forge some kind of peaceful example for nobles and commoners. One that they can confirm together. 

Is it really that simple, though? Is this way of showing nobility and commoners to get along really the issue? He thinks of Aveline. She returns to his thoughts like a reckoning. It seems no matter where he is, the shopkeeper at Flora’s always comes to mind. 

William feels a certain way about her. It’s odd. Perhaps it is a deep friendship. A desire to get to know her. He wishes to understand exactly what she meant when they had interacted before. He had struggled himself, but not in the way she had. 

He tries not to think too much about it. 

The next thing he must form is a tactic of some kind. That will be his greatest source of action in how to unite commoners and nobility. Business negotiations is the best bet. 

Aveline is alone once more in the shop when the odd man returns. The ringing of the door came as a surprise, since she had left a note at the front announcing that the store would be closed for the time being. 

The man from before steps in. His gaunt look and a perfidious grin appearing across his face.

“Hello, Miss. I’ve returned.” Of course you would, she thinks blithely. 

He slithers over, bowing his head towards her. Aveline frowns, a sudden pit forming itself in her gut. “Hello, sir. I’m sorry, but we’re not allowing anyone into the shop at the moment.” 

The odd man smiles, his teeth looking rather jagged. “I saw the message, girl. I’m here to take up some of your time. Would you accompany me for dinner?” 

Aveline makes a face, but it vanishes quickly. She’s in a rather odd predicament at the moment. This man before her looks at her expectantly, and a part of her is fearful of saying no. 

“I’m unsure about it,” she trails off. She worries her lip, trying to look away from him. Hopefully, Father or Mr. Humphries’ comes bustling through. A moment passes between them, him appearing more irritable by the second. 

She prays in her heart that anyone will come and interrupt this. 

“Well, if you’re going to say no. How about persuading you?” He offers, his smile tight. Aveline tries not to falter, if she shows it, he'll know. She stands her ground, despite the well in her gut. He doesn’t seem to take a hint. 

She moves around to the counter, trying to cut her piece of ribbon for the foliage. “Persuade in what way, good sir?” If she can attempt to be amicable enough, bring up a neutral territory, perhaps he will leave. 

She is too hopeful, indeed. This seems to tip him off. He figured out what she's playing at. 

“I’ve come here at my busiest time to get well acquainted with you.” 

Aveline crosses her arms. “I did not tell you to do such a thing, sir.” Hold your tongue, she warns herself. It’s too late now because the man stalks over. 

A quiet fury materializing on his gaunt face. “You’re a commoner, unmarried, and defiant. They won’t want someone like you, girl.” 

She didn’t know how else to react other than to feel that swell of rage inside her. Aveline has always swallowed her biting words, but this man has tested her patience. He has pushed too far, demanding her something she did not ask for. 

“If you feel the need to insult a lady, commoner or not, then you should leave. Immediately.” 

The man leans close to her, his musky breath fanning across her face. His lips curled upwards. “You speak to a nobleman like me in such a way. It could cause you great distress, my dear.” The way the false name rolls from him in a sardonic manner. He’s threatening her reputation. 

Her fists shake at her side. “You do not respect anyone of value. You need to leave, sir.” She emphasizes. Aveline stands her ground. She will not take this random man's need to demean her. 

“Girl, your rebuttal only makes you more desirable.” 

The bell shop chimes once more then. They both look to the entrance to see William Vangeance, Golden Dawn captain, appearing from the doorway. Aveline gapes. Why is he here? 

“Ah–Pardon, is this a bad time?” 

The man stands up then to move away from her, sniffing haughtily and fixing his countenance. “I see, so you keep the company of many others. I shall be off.” 

William steps in front of him. “If you insult the lady like that in her presence. It is within her right to banish you from her shop.” William’s smile appears then, deviously coy. “Don’t come back here again.” 

The man glares at William one final time and exits. The golden dawn captain watches his retreating form. Aveline turns away from him, feeling her heartbeat rattle in her ribs. Her breath is shaky. She had every right to be terrified. At that moment, if he hadn’t come in? What would have happened? She’s thankful, but also a little mortified. What sort of commoner women do noblemen think they are? Do they think of them as easy? Aveline feels an anxious pit forming inside her. A new anxiety making its way inside her. This isn't the time to think of dreadful things.  

William approaches, the sound of his boots clicking against the marble. “Are you alright?” 

Aveline dips her head, her voice coming out mutely. “Yes, I’ll be fine.” 

The captain reaches out, but stops himself from doing so. It is not within his right to put his hands on her. Even if it for comfort. He sighs. “My apologies for not coming sooner.” 

Aveline looks at him then, stunned. “How could you have known? It’s not anyone’s fault except for that man’s. He came in here looking for trouble.” She swallows, braving her emotions. “Men come here looking for an object for their desires. I do not give them the satisfaction of such a thing.” 

William analyzes her. The way her eyes are downcast and they shift away. She’s upset, and rightly so. Noblewomen get decisions made for them regarding their dowry or status. Commoner women face different beasts, but all of them are decided by the higher presence. Typically, being the patriarch. 

He frowns, not enjoying the thought. He’s never realized it before, how much her and so many struggle. William had the naivety, the luxury to not worry over such a thing. Aveline has to because it is part of her survival. 

She looks up at him then, eyebrows raising. “Why are you here, sir Vangeance? Why did you come out here to the common realm?” 

William stifles his response. He had the answer to it, but it's not one he's recognized within himself yet. “I came here on business.” 

Aveline appears doubtful. “Business? In the common realm? Don’t nobles typically have their duties tied up in the noble realm or with the Wizard King?”  

He doesn’t know how to respond to that. He stares at a set of hydrangeas and lilies. “It’s something about trade that I wanted to do. Hopefully to give more notice to smaller businesses to get recognition. I chose Flora's for that purpose.” 

Aveline is astonished by his proposal. She’s stopped feeling unsettled from the earlier interaction and is more curious as to why William seems more like a negotiator. Which is so unlike his former presence. She peers at him, stepping closer. “Do you also come here to do business with my shop?” 

William nods, the nerves getting to him. How curious? He's never felt this before. “Yes, I was hoping to discuss it with you.” 

She examines him. Aveline doesn’t know what he’s playing at. Could it be a genuine interest in her business or her? She doesn’t think of herself that highly, but she’s been fearful before. All the times business partners have made their way into this shop to take up her time, but it was really for her attention. No one’s taken her seriously. 

Let’s hope this Magic Knight captain does not take advantage of that. “Well, if you don’t mind. I’d like to get my father involved with our meeting. When do you want to arrange it?” 

William feels an odd thud in his heart. Is this really what he wants to do? Especially with someone like her? His mind is thinking of a million things that do not correlate at all with what he wants. What is it he wants? William doesn't know the word for it quite yet. He speaks anyway. “Of course.” 

André Dubois looks to be the man who would have greeted William as an old friend; sitting across from him is one man that seems entirely too tentative. He watches him with a careful gaze. Not unlike anyone before him. William feels as if he garnered this attention. Since he's new and a captain to a noble group of knights. It would be weird for someone like him to wish to do business. Is it really so odd? Has this not been done before? He'll have to send a transmission to Julius to get a second opinion. 

“So,” André begins. Aveline sits a cup of tea down between the two men, finally taking her seat beside her father. “What brings you to do business with us, sir?” 

William’s words become lost on him, but he corrects himself. “I was hoping to discuss matters of expanding. At least to the noble realm.”

There’s a silence that wafts around them. André looks to be calculating something. Aveline is staring tersely at her tea. “You are investing in us. Is that what you want?” 

William gulps. “Yes.” His eyes drift to Aveline’s, something that André catches before it goes away. William is staring at the man before him. It’s like he never did it at all. 

The older man hums to himself. “So, do you look for any ulterior motive after all this is done?” 

The captain straightens up, an entirely different response to the one he wishes to give. “No, I do not.” 

And with that, André uses his cane to rise out of his seat, guiding himself to William. He greets the older gentleman, shaking his hand firmly. 

André murmurs close to his ear, dropping to a low whisper, so that Aveline doesn't hear. “Let it only be business, my boy.” 

William swallows dryly, nodding. “Yes, of course. Business.” 

Aveline watches them, uncertain of what has transpired. She throws a look at her father who only gives her a tight smile, he's hiding something. He only does that when he doesn’t want to tell her. She frowns, eyebrows furrowing. 

William stays longer for dinner, discussing work matters. André has taken a liking to the captain. Aveline eats quietly, feeling out of place in conversation between men. If this is still a business arrangement, she would much rather leave. Her father typically lets her leave after everything is well and done. She would stay for the meetings, but never has anyone stayed long enough to do so. They all had left with their wallets empty and hearts broken. 

“And what do you think? Aveline?” William asks, awaiting an answer. Aveline had been lost in her thoughts, now she has no idea what they were even talking about. 

“Pardon, I’m lost? Father?” 

André takes a bite of his meal. “Vangeance wishes to know of your availability these next few months. Would you be willing to do flower arrangements for noblemen gatherings?” 

Aveline nearly chokes on her meal. She coughs lightly into her hands. “Um, I’m honored–but won’t that mean–” 

“You will come with me to the noble realm.” 

She blinks rapidly, her gaze never leaving Williams. He seems to be very interested in the plate before him. “It’ll be too much trouble.” She answers quickly, a little distressed by how fast this seems to be going. “Can I think about it first?” 

“Yes, that’s fine. I figured it’d be good for our business to send you out and about,” André says. William hasn’t said anything and Aveline throws him a quick look. “Right. Right, Vangeance, how long will you be staying here?” 

He responds lightly. “For some time, I’ve considered exploring more in this area.” 

“Oh, I see. So, how long will some time be?” She’s trying to make conversation, but maybe Aveline is acting more pushy than curious. Are you trying to run him out of town? She asks herself blithely. 

William gives her a lethargic smile, slow and coy. “Some time could be any time. I’m not exactly sure. The Wizard King may send me a transmission to head back to the realm.” 

Hopefully, he does it fast, Aveline thinks. She bites her tongue. She doesn’t know why she feels disarmed by William Vangeance, but his motives and how he’s stumbled upon her have made her question many things about him. What are his intentions, exactly? He doesn’t seem the type to be a person who would backstab her or use her for his own gain. Maybe he came here from the good of his heart to make good trade agreements. It’d be plenty good for the area she’s in. The merchants who are in her area would do well with some more business. Maybe people from the noble realm would stay here for longer. Not feeling so put out with where they are. 

She’s still uncertain about what the future holds, but she feels she cannot entirely doubt William. He doesn’t seem to be the bastard type to betray anyone, really, judging how he apologized for his men. Shouldn’t a good man force them to apologize on their own behalf, though? 

She shouldn’t be so critical, she’s really no better. Aveline escapes her thoughts, listening to more chatter between her father and William. They seem to get along well. Which is nice. Typically, her father only chats with Mr. Humphries or all the other merchants in Kalva. It’s only because he rarely goes out and about, not being able to walk such long distances to the market. 

She loses her thoughts once she catches what her father says next. “You could stay here, if you wish.” 

She looks up, meeting William's eyes. Aveline speaks up quickly. “Father, don’t trouble him with that. I’m sure he’s already found somewhere to be.” 

“Nonsense! Come stay here at our house. Why waste money at King’s Echo?” 

Of course it’s that place. André and the owner of King's Echo, Basquiat, had a falling out years ago after a failed venue set up; words had been said, ones that couldn't be taken back. Her father holds notorious grudges. And it had happened a decade ago. Aveline cannot express enough how quickly the setting has changed. “Father, please–”

William agrees. “If the lady of the house wishes it. I won’t stay here, Mr. Dubois.” 

André huffs under his breath, breaking a piece of bread to stuff into his mouth. “Now, listen here. You are more than welcome to. Aveline, don’t be difficult.” 

She wants to slam her hand against the table, but all sense is gone. William gives the final say. “No, I won’t. Miss Dubois is not comfortable.” 

“Bah! My daughter just finds those of the opposite sex incorrigible.” 

“Father!” 

“I’ve said too much, I–” he sighs to himself, the flush on his cheeks apparent to how much he has drank this evening. “I apologize– Aveline, don’t leave.” 

She gets up, gathering her plates to head back into the kitchen. Unbelievable. Absolutely. She grumbles to herself, feeling her neck warm in shame. It’s not that she despises them, it’s just–she’s distrustful of them. They’ve always viewed her as an object to be won and not someone of equal standing. They never see her as a business partner, but someone to declare their undying love too. It’s something personal she’s been trying to work through since she turned of age. Others would say it's a blessing to have suitors lined up for their daughter, but in reality, it’s horrifying. It’s like being in a stock show. Only for them to marvel at her rather than just let her be. It’s attention she did not want upon herself. 

Aveline feels more betrayed that her father would act so inappropriately in front of a guest. A nobleman at that. She wants to think the best of people, but she can’t help keeping them at a distance. After that kind of fiasco, how could she interact with the captain? 

She attempts to distract herself by organizing the pantry, already having thrown out her food. Her father comes in, the click of his cane alerting her. 

He coughs lightly. She pauses her work, clutching onto a rag. “You have behaved in a horrible way, Father.” 

“I know.” He agrees. André does his best for her. He gives his daughter her paths that she has chosen for herself. Sometimes it feels maybe he has lost her along the way, adding to her pressures with the shop. He feels the need to explain himself, but also ensures not to pardon himself after what he’s said. “I deeply apologize for my behavior, Aveline. It’s just hard watching you keep people away. Vangeance seems like a good man, willing to do proper business. It can at least ease some of your duties.” 

“I like my duties, Father,” Aveline objects. “I like to be kept busy and doing what I do.” 

André nods. “My dear, I don’t want you to weather yourself down to my state. You do not have to push yourself.” 

Aveline swallows. “I understand.” She takes this as it is. André approaches his stubborn daughter, placing a hand on her head. 

“Be good, be kind. That’s what matters.” She feels sentimental, some tears welling up. “Do not blame yourself, Aveline. I always want what’s best for you.” 

“I know,” she murmurs. “I know you do.” 

Aveline escorts William out. The Dubois’ home releases a gentle luminescence of light that brightens up their path. The two walk down the cobblestones at a slow pace. William stops, hands firmly behind his back as he turns to her. “I apologize if I made any of this uncomfortable for you and Mr. Dubois. I overstayed my welcome.” 

She shakes her head. “No, not at all,” she glances up at him. Her eyes peered into his. “I just feel I still need to think about your earlier offer, to go with you to the noble realm.” 

“There’s no rush, Miss Dubois. Take your time, just let me know if you become interested. Your work is too beautiful not to be noticed.” 

She gives him a tender look, her eyes softening. “I appreciate you being so kind, sir. Please, if you come back, have another drink with my father. He gets bored here.” 

William’s lips upturn. “Thank you for the invitation. Also, before I leave, the tulip you gave me. It’s flourishing beautifully in the gardens.” 

She beams. “Oh? That’s incredible. I’m so happy. Please stop by tomorrow at Flora’s. I’ll hand you some more mixed seeds and bulbs.” 

“Sounds like a deal,” he tells her amiably.

[zylian]

Recently all au’s or concepts I have are silent movies, feels like I can’t convey them as the focus is on the movement & emotions the character is going through, the heavy breathing, trying to hold their breath as they feel danger approaching from the shiver they get. It’s insanely detailed and specific so every time I try to write one up it feels so off and I hate it.

It’s like a 10 second to 2 minute scene with every possible detail and how the character reacts/responds to everything in that moment and I have no idea how to explain it.

Like how do I explain the adrenaline rush mixed with the feeling of relief, feeling the weight off your legs when you see the person who can save you from this dangerous scene that you’re so desperate to get away from and get closer to them. The feeling of your body moving first before your mind, the way your eyes have already snitched to anyone who’s looking at you cause you keep looking back at the person you are ‘not’ supposed to be concerned about.

Emotions are so difficult and then the aftermath when the brain catches up and logic can finally have a turn and the character wants to smack themselves for how strong of a reaction they showed, hating how it could have been perceived as desperate. The denial in words but the truth in actions.

Like sitting on the back of a motorcycle, slipping the grip on the driver as you feel the wind more and more, the horrible decision of not wearing a helmet, quite literally dancing with death as they reach into the high and adrenaline that starts to tap in, feeling so free that any second it could cost everything and then instantly the high stopping, blinking and reality coming back as the driver had grabbed their hand and brought it back to where it was supposed to be. They can’t hear anything as the wind is so harsh but they know every word that the driver just said to them and they break out into a grin.

Ugh it’s amazing and I love it but I’ll never know how to explain this stuff.

[katnissdoesnotfollowback]

Do you think Katniss is an unreliable narrator? Yes/No? Why?

What's your opinion about first person POV narrative in The Hunger Games book trilogy?

Thank you 😊

@curiousnonny

Alright so I’ve seen it argued both ways and here are my thoughts: unless your narrator is an Almighty Omniscient Presence, your narrator, especially a first person narrator is going to be unreliable in some fashion. So yes, being a human being, Katniss is in some respects an unreliable narrator. However, I’ve seen it argued that we should use the term “flawed” or “partially unaware” when talking about Katniss. Which I can see the argument for.

So why is she flawed/unreliable? Because she’s human. She can’t know or understand everything going on around her (clueless about the growing rebellion), and she can’t always correctly interpret what happens around her or other people (suspicious of Peeta and his actions in the first book and interprets them incorrectly several times because she doesn’t know him).

Because she’s sixteen. Sorry but just like a thirty year old, a sixteen year old is going to have a worldview and way of thinking that is influenced by their experience or lack thereof, no matter how much a teenager might think or act like they’ve got it all figured out.

Because she doesn’t always accurately portray herself. Katniss displays at different turns both arrogance and a downplaying of her skills and knowledge. She also harshly judges Peeta in the first book for not having the same skill set and brand of “bravery” (example when she judges him for being freaked out by the wheat fields in the arena) as her even though by her own understanding of the world, she knows WHY he hasn’t developed those same skills and mindset.

Because with first person narration, her opinions, judgements, and perspective inevitably seep into the narration and often affects how we the readers view or perceive her world and the people in it as well.

However, as a first person narrator, Katniss is almost baldly honest with us in each moment. She admits when she doesn’t know what to do or what she’s feeling. She admits when she’s scared and what scares her. She’s only unreliable because her perspective is limited and thus her narration is limited and can be biased.

So I get the argument for calling her flawed rather than unreliable because we can rely on her narration to be true to her thoughts and feelings at the time, which goes hand in hand with the first person narration. She is not an unreliable narrator in the sense that she does not deliberately hide knowledge from us nor does she manipulate what happens or how she reveals the story to us. Unreliable narrators are usually born from:

- repression (narrator themselves doesn’t even wanna deal with this shit so they avoid it whenever they can, talk around it, etc.), which leaves the reader to dig through what we’re given and Craft our own interpretation of what’s going on. Now… there is a little of that with Katniss, but her repression of certain things is more a symptom of her ptsd and not necessarily a driving factor in her character or the plot.

- deliberate manipulation, where the narrator purposefully lies to and deceives the reader. So a really good example of this kind of narration (in my humble opinion) is the book Code Name Verity by Elizabeth Wein. Which the title itself is a bit of irony, given the meaning of the word “verity” ahahaha. But without giving too much away, the narrator for the first half of the book is a captured British spy during WW2, so she’s invested in concealing the truth from her captors, and through her voice, the author manages to brilliantly conceal the truth from the readers for half the damn book. Highly recommend.

But that’s not what makes Katniss “unreliable” as a narrator. Her narration is flawed because Katniss herself is flawed.

As for my opinion on the first person narration… I’m good with it. For a couple of reasons. 1) I like my emotional gut punch stories delivered up close and personal sometimes. 2) It builds the limited perspective into the narration and thus we as readers must dig through the text to form our own opinion on things which uh… you know fits the purpose for which SC claims she wrote the book. She says she wanted to write a book to open for adolescents a discussion on war and it’s effects, in particular…. Propaganda, which is used to influence our opinion or to limit our perspective to what the powers behind said propaganda want us to think. So here we have a narrator whose narration is influenced by her opinions. But we also have the ability, almost a mandate given the themes and content, to do our own critical thinking to arrive at or form our own perspective and opinion on events. An astute reader will go beyond what Katniss interprets from her own experience. Go beyond the propaganda. 3) in a way, it places a distance between the text and the opinions of the author. Now of course her own opinions are going to show up in the text in subtle (or sometimes not subtle) ways, but there is still the possibility of distance if you consider that a lot of writers will craft their characters and stories not around “what would I do” or “what do I want my character to do?” But “what would this character actually do?” If that makes sense.

And as much as I do sometimes wish we knew more about the world, I do understand the choice to tell it solely from Katniss’s first person pov.

Anyways, thanks for the ask @curiousnonny

[basicsofislam]

ISLAM 101: Muslim Culture and Character: Morals And Manners: Part 19

TEASING AND MOCKING

The Qur’an commands that people should not make fun of, embarrass, or ridicule one another, nor call each other by unbecoming nicknames. This is an important principle if there are to be good relations among people in a community.

O you who believe! Let not some people among you deride another people, it may be that the latter are better than the former; nor let some women deride other women, it may be that the latter are better than the former. Nor defame one another (and provoke the same for yourselves in retaliation), nor insult one another with nicknames (that your brothers and sisters dislike). Evil is using names with vile meaning after (those so addressed have accepted) the faith (– doing so is like replacing a mark of faith with a mark of transgression). Whoever (does that and then) does not turn to God in repentance, (giving up doing so), those are indeed wrongdoers. (Hujurat 49:11)

Here I will address the issues in this verse, using Elmalili Hamdi Yazir as a source, but attempting to simplify his ideas. After the verse opens with a call to believers to conscientiously treat each other well, it inspires believers to do so with the great- est sincerity, indicating that this will make it possible for many more nations and people to perceive and accept the beauty of Islam. Then, this verse goes on from generally fostering brotherhood to teaching people the adab of how to treat each other, both face to face and when apart. There were several events that occasioned the revelation of this verse: 1. According to a narration from Dahhaq, several people from the tribe of Banu Tamim teased and mocked Companions like Bilal al-Habashi, Habbab, Ammar, Suhayb, Abu Dharr, Salim, and Mawla Hudayfa.

2. Aisha said she used to tease Zaynab bint Huzayma al-Hila- liyya for being short. Likewise, she and Hafsa talked between themselves about how short Umm Salama was. 3. Ibn Abbas relates that Safiyya bint Huyayy once came to the Messenger and said, “The women call me ‘Jew, daughter of a Jew’ to tease me.” The Messenger replied, “Why do you not reply, ‘My father was Aaron, my uncle was Moses, and my husband is Muhammad’?” 4. Thabit ibn Qays was partially deaf and therefore when he was near the Prophet, other people would let him through the crowd so he could come closer to hear. One day he came and started going through the others, saying, “Move, make room.” One man did not pay attention, and Thabit became offended and asked, “Who is this?” The man told him his name. The other retorted, “No, you are the son of the woman who—” attributing him to a woman known for indecency. The man was embarrassed, and when this verse was revealed, Thabit never talked about nobleness by birth again. 5. Ikrima, the son of Abu Jahl (Islam’s most determined enemy), became Muslim, but he was called “Son of the Pharaoh of the community of believers.” This upset him and he told the Prophet about it.41 According to Qurtubi, to mock someone means that one is looking down on them, insulting them, putting them down, and talking about their faults in order to ridicule them. Razi says from a community point of view, mocking another person means “showing one’s believing brother or sister less than their deserved respect and honor, approaching them in an uncomplimentary way.” In the above verse, the words qawm (tribe) and nisa (women) are used, which in Arabic denotes the men and the women of the community. There are other linguistic clues as well which prove this. The concept of the community is important in this verse in several ways:

1. It serves as a reminder that Islam is not a religion solely for private practice, but is meant to be lived as a community. 2. It shows that mocking others can cause serious problems and individuals must cease to practice such behavior. 3. The verse also implies that this action or habit on the part of one individual becomes like a sickness that affects the whole community, as a person who mocks others will always have some hangers-on laughing at the jokes and try- ing to become their friend by doing the same. If any question remains as to why such actions are forbidden, every believer should be concerned about the final reason: It may be that, in God’s sight, the one who is mocked is actually better than the one who is mocking. For we can only know the outer appearance of others; God alone knows their hearts. We are not capable of knowing what level of value a person has in front of God. Therefore, no one has the right to belittle, look down on, or make fun of another person because of some outward appearance or action; this may be misleading. If the person we mock is greatly loved by God and we show them disrespect, then surely we will have wronged our own soul as well as that of the person. In other words, making fun of others is wrong in two ways: First, if a Muslim mocks another believer, they are mocking themselves, since we are all like one body. Second, if a person does something shameful, it brings shame most of all on their own soul. Thus, the verse can be paraphrased like this: “Do not mock, embarrass, or belittle believers; for to do so is to mock, embarrass, and belittle yourself.” Or, if we look at it from the second aspect, “When you make a fool of someone or demean them, the result is that you have made a fool of yourself and besmirched your own name.” In other words, the first meaning is more to do with brotherhood, while the second meaning pertains to the honor and dignity of our individual soul.

A nickname is given either to honor someone or to bring them down in some way. The verse uses the word nabz to refer to epithets with derogatory meanings; these are forbidden. On the other hand, it is permissible to give or use positive epithets. According to Kashshaf, the Prophet said, “One of the rights of a believer over his believing brother is to be called by the name he loves most.” This is why giving a beautiful epithet is Sunna, in accordance with the Prophet’s example. Some of the Companions had such kunya, or respectful but intimate names. Most societies have such epithets. But any kind of derogatory term of abuse should be avoided. Calling someone by a derogatory name is fisq, or deviant, immoral behavior, so a person doing this is considered to be ignoring the ethics of Islam. This is a very serious situation for anyone to find themselves in. Knowing that this brings serious punishment and a state that is less than true practice and belief, one should actively and carefully avoid calling other people names or mocking them.

MAKING A MOCKERY OF FAITH

Another related topic addressed in the Qur’an is a type of hypocrisy. This occurs when people act one way while with believers, but make fun of the believers when they are not with them, thus showing their hidden identity. Just as believers should not make fun of one another, they should also exercise common sense and avoid making themselves the butt of others’ jokes by speaking of their beliefs among people who may mock them once they leave. In Sura Baqara it is written: When they meet those who believe, they declare (hypocritically), “We believe”; but when they are alone in secret with their (apparently human) satans (to whom they hasten in need to renew their unbelief and their pledge to them for fear of losing their support), they say, “Assuredly we are with you; we only mock (those others).” (Since what they do only means demanding straying and ridicule,) God returns their mockery, leaving them to wander blindly on in their rebellion. Such are the ones who have bought straying in exchange for guidance, but their trade has brought no profit, and they have no way out to escape it. (Baqara 2:14–16)

There is no question about how despicable this kind of behavior is moral; such people cannot be called believers. They show a friendly, fawning face toward believers while they are with them, but only so that they can hide their true, malicious intentions. Then when they get together with the evildoing mischief-makers, they say, “We are true with you and were only acting; trust us.” The more they swear their allegiance, the more they are actually confirming their treachery, pitting themselves against the believers with their fellow conspirators. Such an action is against basic decency and morality, as these people are mocking and devaluing belief itself; thus, it is easy to understand why such an attitude is one of the markers of unbelief (kufr). To ridicule someone, even in jest, means to violate their honor and dignity. Most people who make fun of believers do not have the courage to insult them; if they do, then insult reflects badly on the person uttering it, not on the one they are insulting. But when people insult believers, God and the whole universe will hold them in contempt, whether they realize it or not, even if they think that their action is concealed. Without a doubt, it must be the greatest burden to have such a thing on one’s conscience.

[abyssalzones]

domino, 1, 3, 18. nora 20, 28, 42. aaaand rose, 4, 8, 31 :]

smiles. smiling at you. (answers under the readmore)

DOMINO

What’s the maximum amount of time your character can sit still with nothing to do?

0 seconds. Domino is extremely hyperactive by nature, and all that restless energy has to go somewhere lest she gets a terrible idea in her head like "I should put a magnet on Sparks' head and see what happens." (nothing good. most automatic bodily fluids including cerebrospinal fluid is more easily magnetically fucked with than yours or mine.)

3. How do they put themselves to bed at night (reading, singing, thinking?)

Domino has a tendency from childhood to shapeshift into whatever feels "safest" when she goes to sleep, which was usually a rock or something else that could be easily overlooked. I doubt she feels the need as often anymore but considering it does take a (small, almost subconscious at this point) bit of concentration to keep herself looking the way she usually does I think she would turn into essentially a shapeless red blob when she's well and truly asleep.

It's probably kind of difficult for her to wind down and get some sleep though- I can see her turning her favorite action flicks on and letting the sounds of incredible violence lull her to rest.

18. What embarrasses them?

Feeling 'examined', for lack of a better word. Domino gets bristly revealing more information about her abilities, choosing to keep some elements of her highly adaptive biology more secret than others. It isn't necessarily that it's embarrassing to have a nearly instantaneous grasp of any language she hears a few sentences of- it's the questions that follow. She doesn't want to give anyone an excuse to prod at her, or worse yet, take advantage of her convenient powers. She uses them on her terms, not anyone else's.

NORA

20. If they were asked to explain the difference between romantic and platonic or familial love, how would they do so?

Nora is exceptionally inexperienced in romantic love, but I honestly don't think she would regard it with more importance than platonic relationships. She's capable of very strong bonds in both cases, but would struggle to put the word "love" into her vocabulary. She's a little awkward and her focus is in other places, so it always seems extreme to call anything love. I imagine she's come on a little strongly in the past with others and has resigned herself to having more aloof friendships in adulthood, not wanting to deal with any more rejection for her lack of social skills.

As for familial love, I can tell you she's coming from the perspective of someone who has been an object of it, without really understanding her own feelings about it. Familial love is shapeless, the source of her anxiety and the outline of her world, inescapable and smothering.

It's an expectation- you have to love your mother, right? She's your mom.

28. Would they prefer a lie over an unpleasant truth?

Her answer would be no, but her feelings say otherwise. Nora is a little sensitive to perceived rejections- if she's told she's done something wrong, or is missing a cue everyone else understood, it sticks with her for better or for worse. Being told outright is ultimately what's best for her, but that doesn't mean it won't keep her up at night.

42. How badly do they want to reach their end goal?

Badly. She has something to prove.

ROSE

4. How easy is it to earn their trust?

UHH..... Before or after the end of the first act?

Rose tends to keep people at arm's length, even those she supposedly trusts. It's not always a fear of deception, either- but rather that she doesn't trust others to pull through for her. So long as she has everything under control, she can maintain some faith, but once her carefully ordained plan goes out the window, all bets are off.

Later it gets a little more complicated.

8. What were they told to stop/start doing most often as a child?

Rose kept up with chores as a kid (and work, later, as a teenager)- but not schoolwork. I think she just didn't mesh well with the school system and often got flack for letting educational opportunities pass by without much care. Part of the reason her mother was so adamant they stay on Altus in the first place was because it would grant her daughter a real future... But I suppose in the end it didn't matter anyway.

31. Who are they the most glad to have met?

This, out of everything, is the hardest to answer. It's unfair to pick anyone in particular out of the crew. Each of them, in their unique ways, have left an unmistakable impression on Rose, and despite everything their presence ultimately changes her life for the better. (Although she does have to clarify that yes, Domino was there first.) I could get into her unique relationships with each crew member but we would be here all week.