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ambrosiagourmet · 1 day

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Hey, Kabru and Mithrun spend some interesting time together, don't they?

With Mithrun having just officially premiered in the anime, and a lot of discussions swirling around about him, I've been thinking a lot about that section of the story quite a bit. These chapters - Roasted Walking Mushroom and 6 Days - are some of my favorites. For a lot of reasons, really. Not only are they are a huge turning point for the story as a whole, but they have some excellent character work, and represent an important shift in Kabru and Mithrun's individual arcs and relationship to each other.

The chapters are also kind of a fully contained story arc just on their own, which is an impressive bit of writing, and makes them super fun to analyze. So that's exactly what I'm going to do!

This will be structured as a close reading of chapters 61 & 62, with some asides for additional important context. I'm going to talk a little bit about a reading that I disagree with, but for the most part I just want to focus on how Kabru and Mithrun's relationship progresses during these two chapters. In particular, the ways they both grow from the time they spend together.

Also I just want to quickly note that this isn't written as Ship Content. It's meant to be an analysis of their relationship as presented in the text - layer whatever additional meanings and filters on top of that as you'd like, but please respect that my intent is not to talk about or champion a ship, or frame any of this content as romantic.

So, with that all being said:

How do Kabru and Mithrun help each other?

First of all, I think there are two important pieces of context that inform the Kabru & Mithrun Dungeon Adventure chapters. Both are related to Kabru's state of mind, and both are set up before or during the chapters in question.

The first is the context of what happened just before Kabru and Mithrun fell into the dungeon. Specifically, the events that led Kabru to make them fall.

Kabru, essentially, gives up his life at the end of chapter 55. When he stops Mithrun, and when they both plummet with the collapse of the first floor, he is okay with dying. Mithrun warns him that they will both die if Kabru doesn't let him go, and Kabru accepts this as a worthwhile exchange.

Why?

Well, because he doesn't want the elves to take over the dungeon. Throughout the last 3 chapters, the Canaries have been effective, but they have also been cruel in their efficiency, and they have made it clear that they don't care about collateral damage. They lured people into the dungeon specifically to provoke a violent reaction from it, without regard for who might get hurt by the violence.

What's more, they are keeping important information from Kabru, and he knows it.

He's not just looking for a solution, he's looking for the truth - a truth that he believes that he will only find through conquering the dungeon. With good reason, to be fair! The elves make it very clear that they aren't there to treat the other races on the Island as equals.

So Kabru uses the only tool he has available to him - his own life. It won't get him the truth, but it at least gives a chance for another person from a short-life species (namely, Laios) to earn it in his place.

This dovetails nicely with the more thematic context that's introduced in at the start of chapter 61: the room where he could eat all the cake he wanted.

This place, a place that Kabru never wants to go back to, is a place where he is safe, and a place where he is ignorant. A place where he is sheltered from danger, but also from the truth. The same place the Island would become, if the Canaries had their way. He doesn't just want to be safe, and he doesn't even just want the world to be safe, though he does want to be able to protect people from what happened in Utaya.

But he doesn't just want to entrust that safety to the paternalism of the elves (especially since he is all too aware of the ways they can fail, or the people they are willing to sacrifice in the name of that "safety"). He wants to be given the agency to seek safety and peace for himself.

He wants to understand. And he wants the chance to act.

This is the context we have, going into the arc of 61 & 62. But before I talk about how the chapters build on this context, I want to take a step back and look at what else the chapters establish early on, before delving into their exploration of Kabru's agency.

First of all, I kind of want to challenge the framing of Kabru and Mithrun's relationship as solely that of a caretaker and his charge.

Obviously, Kabru is forced into a caretaker position - at the threat of his friend's safety, no less. (Okay, it's actually Toshiro and Namari that are being held, but still. There are hostages involved in this) But I do think it's important that Mithrun isn't the one who puts Kabru in this position - Cithis is.

Before this conversation, Kabru and Mithrun are already exploring the dungeon together. Mithrun doesn't threaten Kabru, or force his hand. He kind of just assumes that Kabru will join him. It's rude, and not particularly respectful, but given the dangers of navigating a dungeon alone, I don't think that's really an unreasonable assumption. And it certainly isn't the same as Cithis' approach.

If they were left alone with no intervention, they probably would have ended up in a similar position to the one that Cithis leveraged them into. Kabru is smart, and he could have figured out the things that Mithrun needed help with. And, to be clear, those are things that Mithrun needs help with not because he is selfish or thinks they are owed to him, but because he is disabled. It's not unreasonable for him to need that help, and it's not unreasonable for Kabru to provide it, under the circumstances.

Besides, they both need each other down there. Kabru wouldn't have survived without Mithrun - he doesn't know enough about monsters, and isn't familiar with the deeper dungeon's layout. And Mithrun wouldn't survive without Kabru - he isn't able to notice his basic needs and would burn himself out without food or rest, making him an easy target for the monsters he could otherwise take care of on his own.

Aside from both needing each other, another interesting layer to their relationship, which is established right away, is that Kabru doesn't have to - and literally cannot - put on a mask of social niceties around Mithrun. He can't suck up. It doesn't work.

So Kabru, who spends so much of his time concerned with how others perceive him, and who compromises his own comfort in order to become the most appealing version of himself at any given time, has that tool taken away. He has to help Mithrun, but notably, he can only help Mithrun to a certain point. He cannot compromise his open and honest feelings to help maintain someone else's view of the world - or at very least, it doesn't benefit him at all to do so.

Instead, they sit together, in the same position, share the same shitty mushroom dinner, because they both have to:

And that's notable, too. They both have to. Cithis' demand is most specific about the need to eat. Three meals a day! But this is something they both need, not just Mithrun.

Still, their relationship at this point still isn't exactly supportive, or even respectful. Kabru may have realized that he didn't need to keep up an act around Mithrun, but ya know, he still turns around an immediately try to, with that shitty mushroom dinner.

(The 'badly drawn shapeshift Kabru' gag here isn't just funny, imo, it's also a reminder of the thing he JUST LEARNED. Mithrun is immune to the Kabru smile anime sparkles filter.)

Mithrun also doesn't tell Kabru any helpful information at this point, and doesn't really put much effort into helping him at all. He slaps him awake out of a Nightmare, and treats him with the same disregard he did at the start of the chapter, focused entirely on moving ahead.

But then Mithrun collapses, and the current structure of their relationship collapses with him.

I think it's interesting here that the shift in their dynamic also includes Mithrun explicitly noticing Kabru's desires. Obviously it's not actually like some kind of I truly see you and recognize your humanity moment shared between them, but I do still like the way that it pulls Kabru's internal wants to the surface. Kabru not voicing his desires doesn't mean they don't exist, and Mithrun recognizes that the same way the dungeon does.

And then Mithrun does, in fact, grant one of Kabru's deepest desires. He tells Kabru the truth.

Just like how they are working together in the first place, this truth is as much a necessary concession to survival as anything. But that doesn't mean it's not impactful for Kabru. This is the thing that every other elf in his life has kept from him. A secret foundational to his core belief that long-life and short-life species can never come to mutual understanding.

And Mithrun isn't just giving him the bare minimum information here. What he shares isn't just a truth, it's his truth. It's a level of complete and total vulnerability that few people share with each other. And again - some of this may just be coincidence and necessity. I imagine Mithrun is so open, at least in part, because he doesn't have the same barriers that other people do when it comes to sharing these things.

But, then again... we see Mithrun at his most vulnerable and empathetic when he is talking to dungeon lords & potential dungeon lords, and trying to convey to them the truth of the trap they are walking into.

This face:

Is very similar to this face:

These are some of the few instances that we see Mithrun emote in this way, and his story does come just after he notices the dungeon responding to Kabru's desires.

But, no matter if Mithrun's openness is in response to Kabru being tangled in the dungeon's hunger, or just part of his nature (or, maybe, a little of both), his story changes things for Kabru. It gives him the chance to make actual choices, now that he understands the truth. It gives him a chance at agency in the story.

And he immediately turns around and uses some of that agency in an interesting way:

When asked about why he can't sleep, Mithrun says he needs to be magically compelled. Being magicked to sleep is simple, and it is efficient, but he doesn't even just say it's the best option. He seems to believe it is the only option.

So much in Mithrun's recovery has been framed through how it will let him fight the demon. Recover so that you can return to the dungeon. Sleep so that you can return to the dungeon. Eat so that you can return to the dungeon.

But rest, much like eating, isn't just about achieving the bare minimum required for efficiency. And as Senshi would probably say, the easiest path isn't always the best.

I don't think that the Canaries are intentionally running Mithrun ragged or anything, but as I mentioned earlier, they are very focused on efficiency, with little thought spared to what is lost or hurt in the process.

And there is something different about Mithrun's time with Kabru in the dungeon. Lycion even notes it, when they finally connect back up.

I don't think it's a huge leap to say that how Mithrun falls asleep here is emblematic of that difference. When Kabru helps Mithrun to sleep by massaging his feet, rather then using magic, he is explicitly taking a step beyond the minimum. He is providing comfort to a body that has been given only necessities for a long, long time.

These two events - Mithrun sharing the truth of the dungeon with Kabru, and Kabru choosing to help Mithrun to sleep through a foot massage - shift their relationship. There's a clear difference in how we see them treat each other, and especially in how Mithrun treats Kabru.

Before, Kabru provides food that he has gathered himself (okay, it was a mushroom he put his foot through on floor one, but the point still stands that Mithrun offered no help at all with getting food).

Afterwards, they gather food together.

Before, Mithrun teleports Kabru towards a monster, using him as a weapon when he can't find anything else.

Afterwards, he helps Kabru escape monsters, and fights them directly.

Before, he slaps Kabru awake after 5 hours of uncomfortable, Nightmare-filled sleep. A rest which, notably, Kabru didn't even intend to take for himself.

Afterwards, we see Mithrun keeping watch while Kabru sleeps in a bedroll.

I don't necessarily think that all of these things are choices that Mithrun consciously makes. Like, after 6 days, Kabru would have to get some actual sleep eventually, and Mithrun would pretty obviously have to keep watching during that time.

Nonetheless, there's still a difference in how these scenes are framed, and the fact that it is these things that are used to portray their journey together. Kabru is not the sole person providing food and sleep and safety - they provide these things for each other. Kabru eats alongside Mithrun, hunts alongside Mithrun, and he sleeps in the same way we see Mithrun sleep, laying down and resting deeply enough to be groggy when woken up.

What's more, during their time together, there are even a couple of instances of Kabru being more willing to care for himself and accept care. The sleeping is one example - note how he is surprised at having slept "that long" when told he was asleep for less than even the minimum recommended amount of nightly sleep - but I think the pattern of his eating is even clearer. In making sure that Mithrun eats regularly, he is forced to eat regularly too.

And I especially like the progression with the Barometz meal. After Mithrun has fallen asleep, Kabru thinks about wanting to "give [Mithrun] something nice to eat," but also notes that Mithrun's lack of desire "means there isn't even anything he wants to eat." So what does Kabru do?

He makes Mithrun something that he wants to eat.

I've already talked a bit about the ways that Dungeon Meshi depicts people finding support through "borrowing" the desires of the people who care for them, and I think this scene is a great example of that idea. Especially in the way that it pulls an expression of desire from Kabru, who is so prone to ignore his own hunger and needs. The meal may not end up anywhere close to the flavor intended, but it's still a far cry from the roasted walking mushroom.

All of these pieces come together at the end of chapter 62, resulting in a pivotal choice that could only happen because of the ways Kabru and Mithrun have, at least a little bit, grown closer to each other.

As they are preparing to leave, Kabru hears a bell ringing in the dungeon, just as he hears Toshiro's matching bell on the other side of the portal. Realizing Laios is nearby, Kabru hesitates. He knows the truth about the demon, and how he has a chance to act on it.

Cithis, the person who extorted Kabru into taking care of Mithrun in the first place, pushes for Mithrun to follow along with the plan.

(okay a quick aside here I just want to say I do love Cithis and I'm not trying to bash on her here. I just think it's interesting that she is the one to establish the terms of Mithrun & Kabru's cooperation, as well as the one who tells Mithrun to leave the dungeon at the end of the chapter)

But Mithrun doesn't go along with her command. Instead, he does something unexpected:

He asks what Kabru wants to do.

In contrast to Milsiril's smothering comfort,

and in contrast to his Mithrun's own assumption that Kabru will follow him, when they first wake up in the dungeon,

Mithrun follows Kabru's lead.

This, right here, is the change between them. Not only that, but it's a shift in the entire balance of agency in the dungeon. For what might be the first time in a very long time, Kabru - a tall-man - knows the truth, and is acting on it. He makes a huge decision purely on his own judgement. He is not trying to appease or coerce anyone, and he doesn't win Mithrun over by hiding his true intentions.

Rather, it's the honesty between them that builds to this moment. Mithrun's honesty earns Kabru's trust, and Kabru's honesty earns Mithrun's respect. They bond not because they are forced to spend time together, but because they choose to spend that time giving each other more than the bare minimum - even when they are both people used to accepting the bare minimum.

It echoes Laios' argument with Toshiro, in a way. They eat three square meals a day (Cithis mandated admittedly), they get plenty of sleep, and in doing these things, they take each other seriously. They treat each other as more than just a means to an end.

I don't necessarily think it's a flawless, unbreakable bond that's built during this time - hell, they both kind of revert back to their old behavior, once reunited with the rest of the Canaries. People don't completely change their habits overnight, after all.

But it is a shift. It's a shift that gives Kabru the chance to steer the story towards the ending he has fought for all his life, and it's a shift that helps Mithrun find a way to move forward after he loses his own reason for living. They reach their goals, and then they step past them - facing life beyond the moments they thought defined their reasons for living. Facing life beyond the bare minimum.

And that is how they help each other.

#dungeon meshi #delicious in dungeon #kabru of utaya #mithrun of the house of kerensil #dungeon meshi spoilers #dunmeshi analysis

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books · 3 days

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Writer Spotlight: Rose Sutherland

Rose Sutherland @rosesutherlandwrites is a Toronto-based writer who grew up a voracious reader with an overactive imagination in Nova Scotia (where she once fell off a roof trying to re-enact Anne of Green Gables!). She's been to theatre school in NYC, apprenticed at a pâtisserie in rural France, and currently moonlights as an usher and bartender—in between writing queer folktales, practicing yoga, dancing, singing, searching out amazing coffee and croissants, and making niche jokes about Victor Hugo on the internet. She's mildly obsessed with the idea of one day owning a large dog, several chickens, and maybe a goat. A Sweet Sting of Salt is her debut novel.

Keep reading for more about character arcs in A Sweet Sting of Salt, Rose's favorite fanfic tropes, and some excellent reading recs 👀

Can you tell us about A Sweet Sting of Salt and how you came to write it?

A Sweet Sting of Salt is a queer (f/f) historical reimagining of the classic folktale of the selkie wife, set in 1830’s Nova Scotia. I call it a “reimagining” because while it draws on the folktale, it’s not a retelling of that tale so much as a story playing out in relation to that mythology. I’d wanted to write something centering a love story between two women for a while, but the initial spark came from a Tumblr post! It suggested the idea of selkies testifying before the UN as victims of human trafficking, which reminded me of all the things I disliked about the original folktale and its inherent darkness that is generally glossed over, starting me down the rabbit hole toward finding my own story.

How did you approach research for A Sweet Sting of Salt, and what is a favorite historical fact you learned?

I joke that I did a lot of research by osmosis: I already had a lot of base knowledge about the location, having grown up in Nova Scotia, and then set the story in a period that I’ve been absorbing information about in a low-key way for ages—1832 is also the year of the student rebellion in Les Mis, so I’ve been gleaning tidbits about this era since I first got into the musical and book back in high school. However, I had to do more specific research into things like British divorce law, period midwifery, and animal husbandry. I also visited some small, hyper-local museums on the South Shore that gave me an invaluable glimpse into daily life. I also did some fun practical research into things like “How long does it take to walk from x to y?” and “How cold IS a plunge into this body of water in March?” (Spoiler: Very.)

A fact that fascinated me but didn’t make it into the book was that some early European settlers in the area were granted lands by luck of the draw, pulling from a deck of playing cards: Each card was assigned to a specific 50-acre lot, and whatever you pulled, you were stuck with it.

When we meet them, Jean and Muirin are isolated for different reasons. What do you hope readers still searching for their people take away from A Sweet Sting of Salt?

That there’s always hope. It’s valuable and important to keep reaching out to the world around you, to be open, and not cut yourself off—the biggest reason for Jean’s loneliness at the beginning of this story is the way she has come to keep everyone around her at arm’s length, shutting herself away out of fear, and refusing to let anyone truly get to know her because she thinks that’s the best way to protect herself from being hurt again. Reaching out to others can take a real act of courage, especially if you’ve had bad experiences in the past, but “your people” will reach back to you.

Found family elements play a strong role throughout the novel, within supernatural and mundane settings and across species. Was this something you intended from the beginning, or did this grow out of writing the relationship between Jean and Muirin?

I always intended for Jean to have a found family of this type, which is something that a lot of queer people identify with, but those bonds also got stronger and more meaningful as I wrote, especially once Jean and Muirin began growing into their own family unit—their new relationship and the real danger that comes along with it put pressures on Jean’s other relationships that I hadn’t originally considered. Disagreements with Anneke and Laurie over Jean’s choices arise from their deep concern and love for her, and her own love and care for them, reflected in her responses, is a big part of what made them feel like a real family, for me. Jean and Laurie always having each other’s backs while also being the first to call one another out on their bullshit ended up being one of my favourite dynamics in the whole book.

The selkie myth carries an inherent element of transformation. What is a character transformation you most enjoyed writing, and why?

On a character level, the change in Jean’s worldview following a conversation with her childhood sweetheart meant a lot to me—it heals an old wound for her. I love how grounded and self-assured she is afterward, in spite of the daunting task still ahead of her. But my favourite transformation to write was the antagonist’s mask-off moment, where they directly threaten Jean for the first time. It’s so sly and coded so that only she will understand the menace behind it, a real dun-duh-dunnn moment, which was a lot of fun for me—I also enjoy the foreshadowing elements in that exchange.

This is your debut novel. Did anything surprise you about getting it from manuscript to published book?

Oh my gosh, how LONG it took! After I finished the original draft and decided it was worth attempting to publish, I spent over a year revising based on my own thoughts, input from beta readers, critique partners, and my mentor, Maureen Marshall (whom I connected with through the now defunct Author Mentor Match program, and whose book, The Paris Affair—about a young gay engineer attempting to help Gustave Eiffel secure the funding to build a certain celebrated Parisian landmark— is coming out in May). After that came a full year of querying agents and getting rejected. A lot. People loved Salty but weren’t quite sure what to do with her or where the book would fit in “the market,” which was hard to deal with at the time but is hilarious in retrospect: Salty was snapped up less than a month after she finally went out on submission! But that was back in 2022, and the book is only coming out now. Publishing can be painfully slow.

You’ve written fanfic in the past—do you have a favorite fanfic trope?

I’m not sure either of these counts as a trope, but I adore a character that’s “pure of heart, dumb of ass”, and love a truly unhinged Fanon Explanation For Canon Object. As a longtime Les Mis stan, I ship Tholomyes/Getting Punched. If you know, you know.

Do you have any favorite queer retellings of folktales you can recommend?

Right here on Tumblr, I’m a huge fan of @laurasimonsdaughter, who writes delightful riffs on classic folktales, truly inventive urban fantasy spins on old lore, and her own original folktales.

I’m currently reading Spear, an amazing queer, gender-bent, Arthurian novella by Nicola Griffiths. Anna Burke’s books Thorn and Nottingham are up next on my TBR. Lately, I’ve been reading a lot of brilliant queer historicals that aren’t retellings (I recently loved Suzette Meyr’s The Sleeping Car Porter and Heather O’Neil’s When We Lost Our Heads) and wonderful historical retellings that aren’t queer (I highly recommend Molly Greeley’s beautiful, heartbreaking Marvelous, about the real-life couple that inspired Beauty and the Beast). Queer, historical retellings aimed at adults seem to be considered quite niche, still, and can take some digging to find! So, throwing this out to Tumblr: Do you have recommendations for me?

Do you have a writing routine? Is there a place/state of being/playlist you find most conducive to your writing practice?

My routine is chaotic at best, but I find I do my best work earlier in the day, so I usually scribble in my journal while I have breakfast, and then progress to working on my current project as I drink my second cup of coffee. I’m lucky—my day job is an evening gig, which mostly allows me to write on my preferred schedule… but I’ve also been known to have a bolt of inspiration strike at 10pm and dash home to write until well past midnight on occasion. Nothing quite like the hyperfocus zone!

What’s next for you? Are you working on anything you can tell us about?

No official news yet, but I’m currently working on a story set in 18th-century provincial France based on a true unsolved mystery of the past. It has me delving into a very specific branch of French folklore, and I hope future readers will pick up on common threads with one popular fairytale in particular. I’m really excited about where this one is headed, but keeping the details close to my chest for now!

Thank you Rose for taking the time to answer our questions! If you love queer fantasy and old folktales, grab yourself a copy of A Sweet Sting of Salt, and be sure to share your queer folktale reading recs with Rose on @rosesutherlandwrites!

#writer spotlight #writers' room #booklr #writers on tumblr #writing community #writeblr #creative writing #debut author #reading #rose sutherland #a sweet sting of salt #selkies #myths #fanfic #Les Mis #queer fiction #f/f fiction #queer folktales

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piastree · 3 days

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Is It Over Now? | LN4

lando norris x reader (fc: olivia rodrigo)

— Part 5

Previous Part | Next Part

Summary: As Lando's life goes on, so does Kaia's life. But has she finally found someone new? She is always afraid to compare her new relationship with her previous relationship because she knows that she is not completely over him. note: I've decided to give names to each character in this story because I was getting confused while writing. I hope you don't mind with this change<3

f1wagsupdate

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f1wagsupdate It's been spreading everywhere that a few days ago, Lando was seen partying with his friends. Someone just sent us a DM saying they spotted Kaia there too, and saw them chatting together. Luisa was nowhere too be seen that night because she was out of the town. Just recently, Kaia posted a song cover on her instagram story. Could this be related to her meeting with Lando? Running into each other once or twice could be a coincidence, but three times? Doesn't that mean they're meant to be together?

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user no solid proof y'all just love drama, leave her alone

user Are we even sure it was Kaia? People jump to conclusions so fast

user Seeing Lando with Kaia again makes me think they're not over each other yet

user Stop spreading hate. Whether they're friends or even not be friends anymore, it's their choice

user Lando should focus on Luisa if he’s serious about their relationship

user who are u to judge if he hasn't really moved on?

user Old feelings die hard

user did lando and kaia have an on and off relationship back then?

user as much as i know nope

user Nope, they weren't the on-again, off-again type. Plus, Kaia went off social media for a bit after their split, and after that she never showed anything related to him

f1wagsupdate

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f1wagsupdate Kaia, Lando's ex-girlfriend, has recently been spotted in London enjoying some quality time with a mystery man. The two were seen together, looking quite cozy and definitely giving off more-than-friends vibes. Eyewitnesses say Kaia and the handsome stranger were deep in conversation, sharing laughs and looking very comfortable in each other's company.

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user I need to know who this mystery man is ASAP

user she deserves to be happy, whether it's with Lando or someone else

user even with just their backs in the photo, they look so cute<3

user the body language says it all, the hand placement is definitely not just friendly

user finally she found someone, all the best for you kaia

luisinhaoliveira99

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luisinhaoliveira99 a night to remember❤️

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landonorris ❤️

notes: sorry it took a long time for the new post. Hope you enjoy the new chapter :D i'm planning to edit the names from the beginning, hopefully i can finish it as soon as possible

taglist: @c-losur3 @tania2748 @starz4me1 @celestialend @booksandflowrs @xlinxdax0704 @jule239 @amberpanda99 @sanctify-mp3 @alltoomaples @littlehoneyfreak @leclercdream @jehun @d3kstar@lottef1 @m4neaterrrr @sassyheroneckgiant @saachiep81 @evie-119 @nhlfs @hiireadstuff @littlexscarletxwitch @xjval @softtina @loaves4me @e-nonsense @ogfangirl @noneofyourfbusinessworld @ironmaiden1313 @landorris @norwayxo @saachiep81 @val-writes @sunny44 @maplesyrupsainz @moonyzsworld @callsignwidow @scopeiguess @chezmardybum @neodeliightt @imsiriuslyreal @tinyhrry @harrysdimple05 @emyladia @kravitzwhore @theyluvflynn @urfavouriteanon

#lando norris imagine #lando norris fanfic #lando norris au #f1 smau #f1 fluff #f1 fanfic #lando norris smau #lando norris x oc

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ghouljams · 3 days

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I wanna do my own writing challenge but I am also a jokester and a buffoon, so...

Ghoul's "King Killer" Challenge (inspired by @391780 and @glitterypirateduck)

I want to see people kill König in absolutely insane and convoluted ways. I'm gonna be honest this is for the König lovers as much as the haters, you cannot tell me you love a character if you're not willing to explode them in your mind just a little bit.

Rules:

Please be 18+ to participate and tag me @ghouljams in your post. I'll put all posts onto a master list. Please tag your fics appropriately, and please no suicide or rape, these are meant to be comedic deaths.

This can be angst fic or this can be a background death in a different character fic, I just want that man dead. And most importantly I want it to be in an incredibly convoluted and stupid way. I'm providing what I call "dumb ways to die" prompts but honestly if the spirit moves you or you have an idea fucking go for it.

There's no real time limit on this but I'll give y'all June 16-23 as the golden zone.

"I want that man dead"

The second known case of spontaneous human combustion

Death rolled by an alligator

Eaten by hampsters

Fell out of bed too hard

Someone stuck their finger in his gun and it exploded looney toons style

His phone battery exploded while he was calling someone

Bit by a rabid animal

Turned into goo

Hit by a t-shirt canon

Tried to pet a bear

Testing a stab proof jacket gone wrong

Attempted to drive a fork lift

Tried to outrun a train

Attempted to rescue a chicken from a well

Tried to disassemble a grenade

Insisted he could literally walk on water(couldn't)

Snake coiled around his shotgun and ended up pulling the trigger

Attempted to demonstrate "unbreakable" glass

Tripped and fell into concrete

Shook a soda can too hard and it exploded

Fell out of a roller coaster seat

Ate a peach pit and got cyanide poisoning

Vicious mockery but in real life

Ate expired food

Tried to climb an electric fence

Smoking near blasting powder

Hit by a meteor

Attempted electrical work himself

Anal gone wrong

Anal gone right

Osha violation

Was watching the eclipse while driving

Sat too long in a sauna

Fell down stairs

Choked on own spit

Lawn chair balloon flight into controlled air space

Circus performance gone wrong

Attempted karate

Easily preventable causes

Flying hammer

"Be quiet silica gell packet, can't you see I'm starving?"

"Trust me, I know what I'm doing"

"You're not going to shoot me, you would've done it already"

"I saw someone do this in a movie once"

A legless lizard crawled somewhere it wasn't supposed to

Spiders

That evil bunny from Monty Python

Driving with both feet

Fell in a wood chipper

Attempted sword swallowing

So so bad at blowjobs

Overheated

The hubris of men

Too many pillows on his bed

Met a cryptid

Weather related accident

Walked into a pole

Falling piano

Siphoning gas

Bee sting

Mosh pit accident

Not wearing a helmet

Not watching where he's going

Fell in a hole

"Looks safe enough"

Antagonizing the crows

Ghosts

Cow tipping gone wrong

"No little german boy don't go in that cave"

Microwaving something

Rube Goldberg Machine

Dinosaurs

Time Machine

Shrink Ray

Building falls on just him

Dog farts (those things are deadly)

Crafting gone wrong

Jumanji

Cuteness Aggression (The cute thing is aggressive)

Vampire

Werewolf

Ink poisoning

A dog wags too hard and hits him with their tail

Slipped on a banana peel

Choking on a life saver candy

Electric car explodes

If none of these strike your fancy feel free to come up with your own convoluted and silly death for the man we all love (or love to hate)

#ghoul speaks #cod writing challenge #writing challenge #konig #call of duty modern warfare #call of duty #könig cod #könig call of duty

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essektheylyss · 2 days

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The thing about Phineas/Jonas is that like, it's actually a great illustration of why it's so stupid to try to shut down a ship with "well, I get more of a familial vibe," and, inversely, to complain any time someone does suggest that a dynamic feels very familial in nature, in the same way that it's patently stupid to try to ascribe nuclear family roles to a found family. These aren't antithetical dynamics! They're not rigidly bounded, not least when you don't have any real blood ties! Honestly I really wouldn't consider myself a "shipper" for this show because the vast majority of the character dynamics can fall any number of ways, and I'm interested to see where they go.

This dynamic is interesting because it has been previously a very defined circumstance of mentorship and has also been, in many ways—which Jonas essentially states in this conversation—patronly, to the point of patronizing. But that's also a dynamic that was rigidly upheld by the Trust! It no longer applies, because, as stated, they're both at zero. When the Trust falls, all that's left are people, who now have to renegotiate how they relate to each other outside of those structures. Whatever specifics existed in this relationship prior to this point are irrelevant, because the thing that mattered enough to outlive the Trust is the fact that they actually cared for each other regardless of the roles they were forced to play, and they now get to—and, in lieu of anything else making their decisions for them, must—choose for themselves where they go from here.

#midst spoilers #jonas spahr #phineas thatch #midst meta #midst podcast #god it is SO fucking messy I'm having a great time #i know I've said it a lot but the messier the circumstances a relationship the better it is #like YEAH yell at him and then kiss him about it

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itsscottiesstark · 3 days

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Not to be horny on main but seeing people writing fanfiction!Aziraphale with insecurities about his weight makes me so sad cause I know it's unfortunately based on reality but then I see Crowley's reaction to Aziraphale's body and I'm like yes gurl you're absolutely right I agree with Crowley's sentiment wholeheartedly, get it.

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beanghostprincess · 2 days

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Sakura is such a refreshing character when it comes to Shonen protagonists. The one insecurity most main characters share is always feeling weak and like they cannot protect the ones around them. The typical Shonen MC goal is always to get stronger, whether it is because of a dream or the people they love. But Wind Breaker goes even further with this and instead of making Sakura's character arc only about becoming stronger, it acknowledges that becoming stronger also means trusting others and letting yourself be loved because you can't do everything on your own. His strength relies on the people he loves because they lift him up. It has been repeated over and over again by various characters, but it's Sakura the one making the effort to apologize and trying to trust them more and jump off the rope that kept him from walking a safer, more loving path with his friends.

I'm not saying this plot is entirely new because it's classical Shonen behavior (and I wouldn't have it any other way) but Sakura's insecurities come directly from a place of interiorized rejection and genuine hatred to himself, because of past experiences. Again, it's not new, but the way the manga narrates his character development just feels so human and like teenage growth that it's impossible for me not to adore it.

Shonens, in my opinion, usually lack that message that ties the characters to real life. You can relate all you want to these characters but at the end of the day, most of their stories are exaggerations of real insecurities and you can just relate to the mere translation/interpretation to real life. But Wind Breaker does it in a way that feels entirely human and realistic.

So, to summarize, I am a big fan because the manga about fist fighting and street gangs ends up having an unexpected "get loved idiot" message.

#haruka sakura the main character that you areeee #i love you sweetie #i also like his personality because overall it doesn't really feel like the typical grumpy but with a heart of gold mc. it just feels--#idk. like a stupid guy acting stupid because he's young and doesn't know how to be loved #wind breaker #sakura haruka

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writingquestionsanswered · 2 days

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How do I portray two people falling in love slowly when neither of them really understands love or has ever truly been in love/loved by anyone? Like, they're both slowly learning what love is and how to love with each other.

Learning What Love Is via Falling in Love

Every person and situation is different, and it also depends on what kind of love we're talking about here. If you just mean that they haven't experienced romantic love, that's a different situation than someone who also didn't grow up in a loving household.

Didn't Grow Up in a Loving Household - Sadly, some people reach adulthood without having experienced consistent and unconditional love from the people who raised them. This can lead to a constant fear of abandonment in adult relationships (including friendships, work partnerships, familial relationships, and romantic relationships), which can result in putting up emotional barriers ("putting up walls") to avoid being vulnerable and giving someone the opportunity to hurt them by giving love and then taking it away. It can also lead the person to pursue unloving /unrewarding relationships, intentionally or not. So, a person in this situation has truly not experienced love, or if someone did genuinely love them, they wouldn't have believed it.

What's important to remember about someone like this is there's a difference between never having experienced love--or not believing it was real when it was being experienced--and not knowing or understanding what real love is. Unless your character lives under a rock, odds are they have been exposed to healthy loving relationships of all kinds over the years. They have associated with people (be they friends, family, neighbors, co-workers, or characters in media) who love and are loved by others... they've spent time with married friends who truly love each other, they've witnessed their neighbors' love for their children, they've read books or watched movies with romantic plots or subplots... So they can recognize love, they just fear that they are undeserving of love themselves (because it was never given to them consistently and/or without conditions) or they're too afraid to trust that love is real.

Some things to consider when portraying this situation:

1 - Awareness of childhood emotional wounds/impact on relationships matters. Many people tend to be aware of their childhood emotional wounds and have some understanding of how they impact their relationships, even if they feel somewhat helpless to change things. Many people seek to heel from these emotional wounds either on their own or via therapy, and that would certainly impact how a person moves through a healthy romantic relationship.

2 - What's different in this case? You'll need to figure out (and portray) what makes this relationship different. A good bet is that these characters feel a kinship due to sharing similar emotional wounds from childhood and having had similar impacts. That doesn't necessarily mean they won't still build walls, be free from fears of abandonment, or will believe the love is real right off the bat, but that recognized kinship creates a bit of traction for the healthy relationship to build and also creates a bit of a mutual safety net... "they won't hurt me because they don't want to be hurt by me."

3 - The subtle signs of love will be the same but probably more reserved, hesitant, and slower. This will be a real "slow burn," and there will probably be some setbacks relating specifically to fears of abandonment and issues of self-worth and trust. The Subtle Signs of Romantic Interest and Love Guide: Writing a Slow Burn Romance Guide: Characters Falling in Love Guide: Creating Romantic Chemistry

Grew Up in a Loving Household But Hasn't Experienced Real Romantic Love - Even when people do grow up consistently and unconditionally loved by those who raised them, people can still get off on the wrong foot with romantic relationships. This can especially be the case when a first romantic relationship isn't loving, because it can lead someone to be in a string of loveless relationships. In this case, the emotional trauma will probably be more subtle... they may not even be aware of it unless a wise family member, friend, or therapist has pointed it out to them. The person won't feel unlovable, they'll feel like they're just not worthy of romantic love. They also probably won't have the same trust and abandonment issues, but rather a disbelief that any show of romantic love must be insincere--like the person must have ulterior motives or something.

In this case, too, it's not that they don't know what romantic love is or looks like. It's not that they don't understand it. It's just that they don't feel like they're deserving of it because no one has ever given it to them before (even if someone did and they simply didn't believe it was real). So the obstacle here will be for the character/s to learn to trust one another, and again--if they have that kinship of having emotional wounds related to love (you could even have one character have an unloved childhood and one character never in a loving romance if you wanted) is still what gives it traction. The links above still apply, again you're just doing things a little slower and navigating the obstacles related to the resulting issues.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

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theflyingkipper · 2 days

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a short crappy essay about emily

The writing of girl characters in TTTE genuinely infuriates me. There’s a lot of girl characters who were done absolutely dirty, but it always comes back to Emily for me.

Emily had agency and attitude and purpose in S8-12 and it was erased in favor of a “hi. I’m nice. Im the girl character” nothing one-note personality. What do we know about post HiT era Emily? (And honestly, S7 Emily too. Her introduction is kind of weak in my opinion). She wants to help out. She’s safety oriented. She’s… I don’t know. You could replace her with Rosie or Rebecca or whoever in the cgi episodes where she’s driving the story, and nothing would change. I can’t name any major differences between Emily post-rewrite and Rosie in her entire tenure. Aside from how they’re introduced to Thomas and interact with him, really… which sucks. They don’t have major differences in characterizations outside interacting with a male lead.

AND the worst part is that there are moments where you can SEE they were crafting bold, interesting girl characters and they were either completely sanitized or forgotten about. Molly has a very particular basis. It's not a flashy type where the engine’s basis is the center of the character’s entire personality/marketing/etc (Mighty Mac and Hank come to mind). It feels clear to me that Molly was going to be more important. And then… she wasn’t. She appeared like 3 times, said nearly nothing and never appeared again. I wish I lived in a world where Emily kept her bossy personality and had this contrasted by Molly’s shyness and timidity.

In my perfect world, Emily is bossy and important, and has some complexes about not needing help or knowing more than others. She’s intelligent and rambunctious, feeling like she’s made for more than the fast express duties that she was designed for. She wants to be involved and get dirty. (Which is a sentiment that I think a lot of young girls can relate to!) Maybe this causes other engines to view her as childish, but we know it's because even if she’s an old design- she has youthful zeal. I think that's a compelling personality and character to make from a Stirling Single, rather than just making another “old wise sage” character (we’ve got plenty of those and in different flavors!) An old engine that's hard to register as “old” at all, though not like Edward, she reads like this because she’s childish and immature- Someone immature, but in a distinct flavor of immature than Percy or Gordon. This Emily has so much room to bounce off other characters, and she does. The way she acts in Respect for Gordon comes to mind. Emily’s bossiness brings a much needed shakeup to the monotony of seasons 8-12.

In addition, big, snooty, important characters are a staple of TTTE, but it's an archetype almost exclusively reserved for male characters. You could make an argument that Daisy and Elizabeth support these, but I think they’re different (or underdeveloped) enough not to fit this. Emily is the exception here. I think it's why she’s remembered so well as the female TTTE character that immediately comes to mind. Emily could be great, and she was great.

#the promised rant #theres a lot more i wanted to say but i needed to keep this on track #ttte emily #thomas the tank engine #kips cant shut up

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thedemonofcat · 2 days

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I am interested in a comprehensive list of all the different names Jaskier is given in various translations. It would be fascinating to explore the meanings behind each name and any symbolism they might carry. I plan to group together languages that use the same name for him.

Jaskier: His name resonates universally, transcending languages and cultures. In Polish, French, Portuguese, Romanian, Bulgarian, Russian, and Spanish, Jaskier translates to Buttercup. These small yellow flowers symbolize joy and happiness, evoking images of carefree days and childlike wonder. They also represent youth and innocence, which aligns with theories about Jaskier's non-human origins. Another significant symbolism of buttercups is their friendship connection, fitting perfectly with Jaskier's close bond with Geralt. Historically, buttercups were used in folk medicine, symbolizing healing and protection, despite their toxicity and the need for careful handling.

Dandelion: Known from the English, Hungarian, Italian, Japanese, Belarusian, and Turkish translations. Perhaps the most familiar name, Dandelion, typically appears in two forms: small white, fluffy flowers that can be blown away by the wind and bright yellow blooms. Dandelions symbolize resilience, thriving in challenging conditions and growing almost anywhere, symbolizing perseverance, strength, and the ability to overcome obstacles. Historically used in medicine, dandelions are associated with healing and survival. They also symbolize a connection to nature and freedom, perfectly reflecting the bard’s character. Some Native American tribes view the dandelion as a sun symbol, representing warmth, growth, and the sustaining force of life. This connection to nature and resilience mirrors Jaskier’s character, who, despite facing many challenges, remains resilient and deeply connected to the natural world.

Marigold: Used in Czech and Serbian translations, this name is perhaps the most unusual since there is already a character named Marigold in the series. Nonetheless, marigolds symbolize brightness and positivity. With their vibrant yellow and orange hues, marigolds represent warmth, cheerfulness, and the light of life. This fits well with a bard’s role, as marigolds also symbolize creativity. In Mexican culture, marigolds are central to Día de los Muertos (Day of the Dead) celebrations, symbolizing the connection between the living and the dead. In Indian culture, marigolds are used in religious rituals and weddings, symbolizing love, devotion, and the divine. They are often offered to gods and goddesses as a sign of reverence and respect.

Ranonkel: From Dutch, though translated to Ranunculus, which are buttercups. I'd like to discuss the story from Greek mythology that relates to Ranunculus, as it aligns with Jaskier's character. Ranunculus was a handsome and talented young man known for his beautiful singing voice, captivating everyone who heard him. However, he was also vain and self-centred, revelling in the admiration he received. One day, while performing in a meadow, Ranunculus encountered a group of wood nymphs (dryads). Enchanted by his voice and appearance, the nymphs stopped to listen. Despite their admiration, Ranunculus ignored them, focusing solely on his performance and delighting in his own voice. Pan, the god associated with rustic wilderness and nymphs, observed Ranunculus's vanity. To teach him a lesson, Pan intervened. He transformed Ranunculus into a delicate, beautiful flower that would forever bloom in meadows and fields—the Ranunculus flower. This mythological tale is an intriguing parallel to Jaskier's character and could potentially inspire a fanfiction story in the future.

Valvatti from Finnish. Valvatti, which, from what I can tell, translates to Sow Thistle, can symbolize resilience but can also symbolize unseen beauty. Despite being considered a weed, sow thistle produces small, yellow flowers that symbolize hidden beauty or overlooked potential. This can remind you to look beyond outward appearances and appreciate hidden qualities.

Rittersporn German. Otherwise known as Larkspurs, they can symbolize openness and lightness with their vibrant colours. They can also be used as symbols for thickness and are connected to strong bonds of love. Some cultures believe that larkspurs offer protection against negative energies or bad luck. Placing them in a garden or a bouquet is thought to bring positivity and ward off evil spirits.

Vėdrynas is From Lithuanian. Breaking from the flowers, Vedryans translates to Lark, which can be seen as the bringers of dawn and the start of a new day. Larks are symbols of songs and music, which goes great with a Bard. Larks are agile birds that soar high in the sky, symbolizing freedom, independence, and the ability to rise above challenges or limitations.

Blyskáč is from Czech. It translates to "sparkler" or "firecracker" in English. Once again, breaking from the typical flower names, blyskac can symbolize celebration. The firecrackers' brightness and sparkle evoke joy, optimism, and positivity. They are often associated with bringing good luck and warding off evil spirits in various cultural traditions. Firecrackers and sparklers burn brightly but quickly fade away. They symbolize the fleeting nature of moments and encourage living in the present and appreciating life's transient beauty.

These are all the names I could find. If I missed any or made any translation errors, please feel free to let me know.

#the witcher netflix #the witcher #joey batey #geralt of rivia #jaskier the witcher #henry cavill #the witcher jaskier #geralt x jaskier #geraskier #fic ideas #jaskier #gerskier #cirilla fiona elen riannon #freya allan #headcanon #yennefer of vengerberg #the witcher season 3 #the witcher season three #anya chalotra

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halenhusky309 · 1 day

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Funny things about transformers fandom is that I notice the Western side of the fandom tends to make Optimus Prime look buff and masc while the Eastern side (specifically East Asia) of the fandom tends to make Optimus Prime look slim and fem..... Honestly, I think both ways of viewing the characters are valid to me and I enjoy seeing different interpretations of Optimus Prime...

However, I notice one side of the fandom (even the queer TF folks) tends to bash the portrayal of Optimus Prime that is too feminine, twink and submissive from the other. While there are some portrayals of feminine OP can be quite problematic and outright fetishized, not all of them are like that, and sometimes, some folks very negatively any feminine qualities attached to Optimus as if they are insulting and degrading to his character...(And I'm nothing about cis dudebros of TF fandom).

I mean I get it that TF fandom has seriously misogynistic issues, and the way folks handle anything feminine-related can be outright offensive, sexualized and fetishized. But not all twink, feminine (or even submissive) OP portrayals are bad, in fanfics and fanarts alike. There are some portrayals of fem!OP that make him very confident and comfortable with his fem sides and showcase his strengths differently. I enjoy those portrayals immensely and for me, they kinda validate the strength and beauty of femininity that is not poisoned by the male-gaze.

So in conclusion of my long-ass and incoherent rambling, do what you want with OP and let the folks enjoy making OP feminine in peace.

#transformers #some thoughts abour Optimus Prime #Optimus Prime #Transformers fandom #TF twt would crucified me for this take #I am also a fem OP enjoyer #It just works for me better #I just think people get way too upset with OP being feminine #(And I'm talking about the queer and progressive circle of TF fandom)

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stuffyouwantedtosaybutneverdid · 3 days

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Let me get on my soap box

I’m so tired of this narrative that people seem to have nowadays where it’s a problem if you love a flawed character. That’s what makes them interesting! And what person do you know that doesn’t have flaws!

Specifically tired of this anti Stolas discourse. Did he technically cheat on his wife? Sure. But being forced into a heterosexual marriage when he is clearly gay and being abused verbally and physically by his wife pushed him to his limit. Stolas went his entire life without someone to love romantically and all he had were his books. Books that were romantic and sultry and definitely influenced his reaction to seeing Blitzø again. Blitzø awoke a side to him that had been suppressed his entire life and perhaps he acted rashly but who wouldn’t after 35+ years?

I’ve also seen people say he’s not a good father. Literally where? Ask anyone who doesn’t have a good relationship with their dad, I would love to have the relationship that Stolas and Octavia have. He sheltered her from the abuse that Stella gave him. He was attentive and caring and loved her unconditionally. Just because he finally stood up for himself and decided to get divorced from his abuser doesn’t make him a bad father.

Then there’s the discourse about him having a deal with Blitzø every month. Could he have gone about this a better way? Sure. But think about what he’s been through! He doesn’t know how to be close to anyone romantically. His own parents didn’t teach him, no one was there to guide him. Also remember in the first episode how Stolas proposed the meet ups Blitzø replied with very little acknowledgement. He could have denied it and you can bet Stolas would have still let him use the Grimoire because he’s desperate for connection. Remember that Blitzø had been using it for some time before the proposition was even made. Stolas just didn’t know how to go about getting closer to Blitzø and that was the only way he thought he could make it happen. Yes, technically there is a power imbalance between them but it’s so clear that Stolas doesn’t see it that way. And obviously Blitzø has some feelings that there is that imbalance but that’s why they need to sit down and talk and realize they both feel the same way about one another.

It’s okay that characters are flawed and complicated. That’s what makes them interesting and relatable. Feeling like everyone should only like the “moral” and uncorrupted characters is outrageous and unrealistic and just plain boring.

#end of rant #helluva boss #Stolas #blitzø #stolitz

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ogata77 · 3 days

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First spoiler chapter 58

The first spoilers for chapter 58 are here and I want to leave you my quick thoughts. I'll start with the cover.

The last image is the new inside cover of chapter 58 and obviously I couldn't help but relate it to these other images. Yoneda usually plays a lot with connections and mirror chapters so I like to hypothesize what he wants to tell us. The first image of chapter 10: "At that time when I was a nobody", shows the moment when a teenage Yashiro is pressured by Misumi to formally join the yakuza. If we continue with the sequence, image 2 corresponds to chapter 31: "Feelings and ambitions intermingle", it is one of the climax moments of the story where they end up accusing Yashiro of the death of a member of the Gouda-gumi. There is a lot of talk about the sakazuki (official yakuza affiliation ceremony), loyalty and it is shown how yakuza groups protect their members in these situations of internal conflict. Finally we have the cover of the next chapter 58: "Emotions are left behind."

All of the above shows us narratively where we are heading in the story at the level of the yakuza (my favorite). Yashiro never wanted to join the yakuza out of necessity, he did it as a sacrifice to help Kageyama (I hope one day he finds out) and throughout his life he has shamelessly shown that he has never truly felt like a yakuza. When the first arc ends and Yashiro loses leadership as wakagashira of his group, "the" opportunity is created to distance himself from the yakuza. Misumi pressures him again and again to work directly with him again but so far he has dodged it with grace and elegance as only he knows how. Until that moment everything was working for Yashiro, he was still like a living dead, but he was half a body away from the yakuza until Doumeki enters the equation again. The cover of the new chapter says that emotions are left behind but will Yashiro be able to leave his emotions behind when it comes to protecting Doumeki? Precisely in the last chapters Yoneda has shown us how they have been gradually resolving their prejudices and emotions but now it is time to return to reality, we are at the beginning of another yakuza conflict.

On the other hand, I cannot fail to mention the visual narrative of the covers. Chapter 10 and 58 are a mirror, both Yashiros look at this little sparrow that represents the difficult decision to be in the yakuza, it is incredibly sublime. And the intermediate scene that has so much to say, Yashiro, unlike the other images, is standing, which means to me that he feels in a more empowered position, and let's add the details of the rain and the umbrella.

I couldn't leave aside the symbolism of these two elements. The rain has always been another character in saezuru, a symbol of pain, sadness, loss and its counterpoint the umbrella that protects me from everything. There are so many memorable scenes with these two elements to name a few: when Yashiro brings the umbrella to Aoi (Doumeki's sister) to protect her from her feelings for Doumeki because it reminds her of when he loved Kageyama, when Yashiro looks at a mother from the car protecting his son, a feeling that he had never felt (this is very sad, Yashiro is a survivor), the past and recent scenes where Doumeki protects Yashiro (for more information you can read aiaigasa). There is so much to remember and analyze that saezuru readers can, without exaggeration, read the story 100 times and find something new.

To finish, I think that for Yashiro and Doumeki it is time to decide whether or not they are going to officially be part of their groups with the advantages and risks that this entails. If you've read this far, I sincerely thank you for your interest in my ramblings and if there are problems in the text, you know, it's Google translator's fault hahahaha.

#saezuru tori wa habatakanai #yashiro and doumeki in love #saezuru #saezuru analysis #saezuru spoilers #saezuru feels #saezuru fandom

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lintwriting · 3 days

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How to Write Intelligence Characters (Like Wei Wuxian!)

Wei Wuxian has a really bad memory, but he is also smart enough to realize this and then use it to insult people as a joke—WITH plausible deniability to shield him from any potential consequences.

This interplay between extreme intelligence, comical brain farts, and layered social interaction is what makes MDZS so fun to read because it creates a real complexity to both him and his environment. There are multiple layers going on in this scene, with in-jokes and social factions and miscommunications, as there is in reality. And it’s a tangible demonstration of his intelligence, that he’s able to think of this deception in the first place and so casually.

But also it make the story less monotonous by having this complexity. 3 layers.

There the first layer.

“Extremely intelligent character” Like gadget inventor characters or nerdy hackers. Their hyper intelligence is useful for plot reasons, and highly competent characters are likable. And this is not bad for a side character.

It can go too far, however, such as in the case with BBC Sherlock, when the author makes the character so hyper intelligent he becomes an unbelievable god character and wraps back around to being dislikable again. Like the author’s personal pet character who can do no wrong with the excuse of his intelligence allowing him to do anything, leading to extreme annoyance whenever he’s on screen, which is all the time bc he the main character (is that just me?) lol

Then there’s the second layer to break up the monotony of intelligence.

Wei Wuxian has shit memory. Like laughably shit memory. Much like how video games create perks that also give you cons in specific ways to make your decision to use it more satisfyingly personal, like choosing to wear shitty armor that looks pretty because you value style over function, Wei Wuxian’s extreme intelligence is often undercut by scenes of extreme brain farts.

Whether it be an almost painful level of obliviousness or an extreme failed memory check, Wei Wuxian gains a flaw that not only makes him human and therefore relatable, but also unique in the pantheon of genius characters out there because he’s a genius in THIS SPECIFIC NICHE (trademarked).

This nuance/uniqueness/realness, thus, will allow his character to say more about the real world than mr god intelligence BBC Sherlock.

For the most obvious one, he’s a persuasive essay on why intelligence is not predicated on good memory, which maps well onto his larger character trait of being a intelligent slacker in school (of which the number one complaint is that it is immaterial to actual learning and only really tests memory).

What does BBC Sherlock say, beyond the idea that a god has no need for human rules? That IS a message, but a hypothetical one, as most people will never get to that level of comical intelligence for it to be relevant. Well, I guess assholes (who are less smart than they think) use characters like him as excuses to be dicks, so there's that, but I think that's proof of how legitimately unrealistic he is. He's the power fantasy of teen boys and maladjusted adults, like Rick Rick and Morty.

The third layer is him remembering that he has shit memory and using it to his advantage.

THIS is the part that gets to me THE MOST about his character and arguably the part where MXTX proved (to me) that she’s a better writer than BBC Sherlock writing staff, especially when it come to OP or intelligent characters.

There’s an ELEVATION that happens on this third layer. This is where your character goes from a smart character to a smart person to an ABSOLUTE GOAT. This is the hype that the BBC Sherlock crew wanted when doing a smart god character but absolutely failed to nail deadass, Jesus-style.

Cheatcodes to Writing Intelligence

For one, it’s putting her money where her mouth is. BBC Sherlock creates hyper intelligence by bending the plot to Sherlock's will, like one of those Twitter fake "oracle" accounts that make predictions and then retroactively delete the wrong ones to make them look psychic.

It's not true prediction, and neither is Sherlock solving a mystery unsolvable to the audience because the writer can cheat and handwave his logic — THE VERY THING BEING SHOWCASED — by just showing Sherlock being right all the time about random things we couldn't know ourselves.

(And in Sherlock, this is mostly downplayed because the mystery is less important than the character drama (send prayers for Johnlock), but it goes from a subversion to a Game Of Thrones subversion (derogatory) when the show starts failing at the character drama too, making his stupid caricature of intelligence insulting instead of an interesting exploration of a hypothetical god trying to grow up human, Jesus-style.)

Wei Wuxian also has this hand-wave-y aspect to his intelligence. We're told and shown he's a genius inventor through the cheat code of the world's magic system. Magic without rules is famously hard to write well because any story's conflict can be solved with "well a wizard came and saved the day through GOD-like abilities" if the author is too lazy to write a satisfying conclusion.

Wei Wuxian is the inventor of Necromancy, and while yes this is sort of explained through a scene where he's arguing against the establishment to his cultivation teacher, the logic of it is very simple. "What if we reversed energy? (simplification of what he actually said)," the reality of his genius invention of necromancy is just that it's the author saying "well Wei Wuxian did it through his GOD-LIKE intelligence."

What we really get out of this is that his COUNTERCULTURAL HERESY (Galileo-Style) is revolutionary. Not so much his logic being revolutionary when the concept is THIS simple (haha reverse evil suppressing wards to get an evil attracting ward go brrr). But the story handwaves this away with just making other characters utter trash at necromancy, cheating at making him seem like a genius in comparison (simplified for scope, there's more to this).

IF that were all there was to him, he'd only be a 2 layer AT MOST. Instead, we have this third layer, where he directly reacts to information the reader has received in witty ways. (This also makes him self reacting, which is what makes us human)

The Structure of Setting Up Intelligence

Part of what makes mysteries so satisfying is that the reader is rewarded for paying attention/engagement. If they notice a clue that becomes a part of the detective's explanation later on, it's like a puzzle falling into place, where you feel like a special big boy for noticing. And if the detective manages to solve it where you didn't despite having all these clues, YOU become the dumb shitty necromancer jobber who makes Wei Wuxian look good in comparison. Metaphorically.

Similarly, we have all the clues. Wei Wuxian is smart and resourceful. Wei Wuxian forgets a lot of things. Wei Wuxian gets told he's forgotten a lot of things. What's the next logical step? Wei Wuxian smartly uses his forgetfulness as a resource!

2. At the beginning of the book, he accidentally snubs a side character by responding "I don't even know who you are" (simplified for scope's sake). At the time, he genuinely is fumbling here, messing up his social standing because of an actual brain fart, but in a way that's hilarious and better-than-you, so we think nothing of it... until he learns from this mistake right in front of our eyes!

Because later on, he REPEATS this line to the SAME character to legitimately snub them when they were making accusations of him personally attacking them. Not only is this an infuriating snub done on purpose this time, but it's a lie—Wei Wuxian remembered this asshole after the many many dumb dramas with them.

3. But it's a useful lie because it demonstrates a truth—WEI WUXIAN DIDN'T ATTACK THEM. Wei Wuxian would have motive to attack them hypothetically (read: dumb dramas), but the reality is that he doesn't care about them enough to do so, for all intents and purposes making them "forgotten" to Wei Wuxian. Best of all, people believed him because HE'S DONE THIS EXACT THING BEFORE. The plot is repeating, but nothing feels the same. LAYERS absolutely destroying MONOTONY.

3. On top of that, it's a reaction to himself. He's demonstrating both metacognition and self-awareness, here, which is something actively studied in psychology as a phenomenon humans have that other animals might not, a la Dunning Kruger and the mirror test, respectively. What's more human than cringing at your un-self-awareness and learning from it?

And the best part is that we were on every step of this journey. It feels like such an obvious move to make now, like duh you can use your forgetfulness as a form of weaponized incompetence—guys do it all the time (derogatory). Wei Wuxian even does this in a cute way with his sister when he does Sajiao/aegyo at her to get her attention (affectionate).

4. But it truly hits different seeing him do it in such a specifically crafted story, structured like a mystery or a joke where the logic or punchline is him pretending to have bad memory, and I personally would never have thought of doing this on the spot like he did. This is some post-argument hindsight shower thought shit. Genius power fantasy done well.

Shit like this is STORYTELLING and STORY CRAFTING. The repetition of the scene to make his second snub more potent. THIS IS THE POWER OF SET UP AND PAYOFF. A unique usage of the adage of how a character's greatest strength is their greatest weakness, like someone's determination making them bull-headed and stubborn. Except in reverse, necromancy style, where a fatal flaw (his memory) becomes a great strength (plausible deniability). A simple example of how characterization is about specific traits in unique ways to SHOW us his personality better than the author just telling you he's smart ever could, like in BBC Sherlock. THE POWER OF SHOWING NOT TELLING. The interplay of the contradictions within his intelligence as a way to show that he's "real" and not a god. THE POWER OF DEPTH.

All this while he is quite literally the god of his story (Jesus-style).

That's right! Time for pointing out the idolization and mythologizing of Galileo!

Now I don't know if this is true because fact checking in Chinese fandoms is a nightmare when 1. your chinese is barely fluent and 2. most chinese socmed platforms require a chinese phone number to sign up. 3. these two facts leads to a lot of fandom telephone. But I remember someone quoting MXTX on the idea that Wei Wuxian and his love interest are supposed to be the moral paragons of this story (despite the way Wei Wuxian has been demonized *haha get it? demonic cultivation. his ghost cultivation got called demonic cultivation in the most on the nose misnomer in history*). This is probably not a true quote, but it's emblematic of how it feels to be reading this story.

For one, Wei Wuxian is quite literally the moral paragon. He's one of like 3 people actively against a genocide (other than its victims). A genocide that characters within the positions of power go along with for what boils down to personal convenience's sake (ALL EYES ON RAFAH). He's one of the few characters to truly master resentment AKA ENVY (aka WEI "No Envies" WUXIAN) in a story where basically all the bad stuff happens due to envy (funnily enough the actual evil villain of the story is probably the only opp who wasn't actually jealous of him, despite arguably being the one who not only was the most envious of the whole series and the one whose envy would make sense, being narrative foils with Wei Wuxian and all). You'd never see Wei Wuxian wishing evil upon someone out of jealousy (he quite literally sacrifices himself to save his "unrequited" "crush's" "crush").

For two, this world is set in ancient times, where killing was still wrong but also simultaneously seen as honorable, like with Odysseus killing his wife's suitors in revenge being seen as honorable, DESPITE him hating it when the cyclops killed HIS crew in revenge for sheep lol. Wei Wuxian has slaughtered many people, but often in circumstances that soften the immorality of it, like the insanity defense or self defense or "this is war in ancient china" or stopping a genocide. And he acknowledges that these wrongs were still wrongs and does good in the world/changes as a person to atone.

For three, he's god damned OP. In a magic system where enlightenment is directly tied to magical ability, Wei Wuxian is one of the most powerful magic users in their world. Top of his generation, beat out only by his love interest, kinda. Morality is tied to cultivation, which is why it's called the "righteous" sects.

But it gets better, because those sects are not actually righteous. The vast majority are hypocrites or worse, and their work mostly involves killing things for "mundane" people, who treat them like nobility for doing so (depth in contradiction). The implication is sorta kinda that Wei Wuxian so powerful BECAUSE Wei Wuxian is one of the few to actually be righteous and not just self-righteous.

Thus, him being the inventor, the only non-noble, and only user of ghost path cultivation, the reverse of cultivation, thus serves to highlight his moral integrity in comparison, even when being called a heretic (depth in contradiction).

(And while people argue that his cultivation ITSELF is evil, causing the souls of the dead to be unable to reincarnate, I'd argue that that reading is a misread that gets distracted by thinking "demonic" and "ghost" cultivation are the same thanks to his title as the grandmaster of DEMONIC cultivation, when they're not the same (again, misnomer). In reality, he's the only successful user of the ghost path, which is about EMPATHY (Wei Wuxian's most signature magical ability after his flute playing skills) for the dead, playing into their resentment to help them pass, like he said in the very scene where he defies the establishment of his school and initially defines his path. The shitty jobber demonic cultivators are going evil and shit because it's actually pretty hard to put yourself in people's worst desires and hurts (wwx still went insane lol), much less if you yourself are controlled by resentment like Xue Yang or Su She was, who both technically "empathize" in that they're about as resentful as ACTUAL ghosts LMAO.)

Anyways, all this to say that the entire story is structured around hiding the fact that Wei Wuxian is the bestest guy ever embroiled in a huge mystery, who gets slandered and killed by his opps for standing up against powerful oppressors before coming back to life and clearing his name... (jesus-style). A lot of the book is him morality mogging or witty mogging randos, many of whom are cartoonishly evil or rude. Dare I say it? Yes. Like BBC Sherlock.

BOOM. Gallileo becomes the myth.

BBC SHERLOCK 🤝WEI WUXIAN

Whew, I finally brought it back around to my original point.

THIS is why Wei Wuxian is everything BBC Sherlock writers wished they were doing. Because in spite of all their similarities (seriously? both of them have a death period where their lover (rip johnlock) is mourning them before coming back to life??) BBC Sherlock's nowadays gets mercilessly mocked for being a Mary Sue and his fanfic community is dead, meanwhile Wei Wuxian is so beloved by his readers that MDZS fanfic literally has had such a huge impact it got Ao3 banned in China and then added a maximum to tags on Ao3 PERIOD. King shit.

And despite what this post seems, it's not a disparagement of BBC Sherlock as a character. I loved him, I loved the idea of exploring this demigod. Superwho-manly intelligent, but in ways that make it hard for him to function in the human world (until John). His struggles with ostracism, "weird" interests, sensory issues, etc. are alarmingly human and a great allegory for neurodivergence (while not being one of those cringe "autism savant" tropes bc he isn't literally autistic). Sherlock fic popped off for a reason, it's just that the writing of the show didn't do the legwork work that MDZS did to support his character as a god, instead it mostly did shit like "oh it's okay I'm a pretentious asshole because I'm a genius and always magically right, even when I'm wrong, because I'm god." Like if Rick Rick and Morty wasn't self-aware... T_T

That's why this post is me compiling the ways Wei Wuxian's character was crafted to be intelligent. It's not bad to have power fantasy OP characters, but it's hard to do them as well as him. It's not just the clever deceptions or witty usage of words with multiple meanings or the self-awareness and learning, or giving the intelligence flaws to make it more believable. Sherlock had all these and more.

It's the combination of it all, usually in the order of "telling" they're intelligent through abstract things like other characters saying he's really good at detectivework and them magically solving cases, then complicating that intelligence through some kind of flaw, then "showing" him overcoming that complication using concrete examples of intelligence, such as self-awareness, witty double entendres/callbacks, contradictorily using weakness or appearing weak for specific gains, and reframing the given 'clues' in a new light with the help of red herrings. This is like a steelman persuasive essay format, but with proving that someone is smart. Thesis, counter, rebuttal with quantitative evidence. There's like a mini arc build up to a mini climax/climactic moment that makes it satisfying.

The set up and payoffs are key here, as a lot of these just require a bit of legwork before the payoff, such as Wei Wuxian repeating the same line he used as a mistake into one he does on purpose or find a scenario where forgetfulness is actually helpful in deceptions or whatever the chosen scenario is. Much easier to begin with the end in mind in and then retroactively write the beginning to match, instead of creating an impossible mystery, after all. 😭😭 Best part is that I didn’t even compare the mystery writing of MDZS to Sherlock’s ass mysteries, I did it purely on the strength of how its intelligence is utilized for character drama, just as Moffat and his defenders would have wanted.

#metas #mdzs #mxtx #mo dao zu shi #wei wuxian #bbc sherlock #sherlock #steven moffat #writing #writeblr #hbomberguy #yeah this is mostly me writing a love letter to hbomb’s Sherlock video

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varpusvaras · 24 hours

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I've had a headcanon for a while that Breha and Fox are really into the romance genre - like, in a way that if the book/show/movie is good, they enjoy it as a good piece of media, and otherwise, they read or watch things together and have fun with it. Bail is...not so much into this, as much as he can also enjoy a good piece of media, but the second part of the experience is kind of lost to him.

He will listen to Breha and Fox talk about them and tries to guess what is going on in any given book/show based only on what they tell him.

(If he is actually a bit invested. Shh. No he isn't. No, he's not watching this- alright, fine, you menaces)

So, there's this relatively new show. It started a bit before the war, and gained a lot of popularity then, and when the show was put on hiatus because of the war, the fans were impatiently awaiting for more. The show is about mostly fictional planets and their high-society, royals and nobility.

Breha and Fox watch the part of the show that came out before the war, and make Bail watch with them as well (Bail watches, because they are asking and he wants to spend time with them, and, hey. He likes looking at them when they are happy and joking around). Then, some time after, the show announces that it will be coming back with new episodes!

The episodes start releasing. Breha and Fox watch them, and make Bail watch them as well (no, he isn't invested at all-). One week, there's a new character introduced. A Princess, who is going to become a Queen soon. She is from a very old and rich planet, that does arts and peace and nature. Breha says that it reminds her of Alderaan a bit, perhaps they have taken some inspiration.

One episode, the Princess meets a nobleman, who is very politically idealistic and believes in equity, and is striving for making the galaxy a more peaceful and unified place. The actor is very tall.

Fox jokes that they kinda remind him of Breha and Bail. Breha laughs. Bail squints his eyes at the screen.

The Princess becomes a Queen, while becoming increasingly close with the nobleman. Then, one week, they introduce another new character. A former soldier, who has now returned from the war, and the Queen and the nobleman meet him when they are in an event, discussing how to make more peaceful solutions.

Bail frowns at the screen. The actor is not a clone, but looks very much like one, with his tanned skin and dark, curly hair.

Fox looks at the character as well.

"Oh", he says.

"Oh", Breha says as well. "I do think...that they have taken inspiration from close by."

You don't say, Bail thinks.

He's not super stoked about this development, but at least the two other actors do not resemble him and Breha too much. He can...sort of understand the choice of casting someone who looks kind of like the clones into the role of the soldier. It's commentary. Easy to understand. It's....fine. They are just drawing inspiration from their overall dynamic, nothing more. There's nothing else that seems too recent.

Then Bail goes for work to Coruscant, and gives statements regarding his views on the clone rights, the war, and his relationship with the clones and how, even though he cannot claim himself to be a part of their culture, he and Breha and Alderaan as a whole have tied themselves into it and consider it to be a part of their culture as well.

It's a good statement. Bail is proud of it and the reaction it causes. The way Fox and Breha look at him after is the best reward he could possibly ask for.

Then, a few weeks later, a new episode comes out. The nobleman gives a speech about the war and cultures and how he relates to them. It's very much the statement Bail gave, but just reworded to fit the world of the show.

Oh, Bail thinks. Oh, it is on.

Bail decides to have his own fun. He starts to make very showy gestures to Breha and Fox in public. They know immediately what he is doing, and go along with it.

Some of the things he did end up in the show. Bail can deduce from what those things are when whoever it is who is gathering material is present.

Bail knows the press. He knows how they dress, he knows how they operate. Once he knows where to look, it is very easy to spot them.

It's a rare occasion that both Breha and Fox are accompanying him to Coruscant. Bail is playing it up, until he notices the person who is very much not press but who is very much recording and making notes, when Bail is not even saying anything to any of the people surrounding them.

Bail turns to look straight towards the camera.

He person holding it stiffens, but doesn't turn away instantly. Not so easily intimidated, then. Bail can respect that at least.

Bail continues to stare at the camera, not saying anything. Just staring. Fox and Breha have caught on to what he is doing by then, and they are trying their best not to burst out laughing.

Bail continues to stare at the camera. He has stared down bounty hunters, separatists, assassins, the sith. He can do this all day.

Finally, the camera turns away. Bail smiles, and clims into their speeder with Breha and Fox.

As soon as the doors are closed and the speeder starts moving, Breha and Fox lose it. They cannot stop laughing the whole way, and are barely able to contain it once they arrive to the Senate.

Unsurprisingly, at least for some, the plotline of the three characters in the show starts to steer to entirely new directions in the very next episode.

#I'm sorry but the thought of Bail having beef with the producers of space bridgerton is giving me life #looks directly into the camera like he is in the office #sw #tcw #bail organa #breha organa #commander fox #bail/breha/fox

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