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teamatsumu · 3 months

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L&DS BOYS - LOVE LANGUAGES

content warnings: fem!reader, fluff, sfw headcanons

XAVIER - PHYSICAL TOUCH

Xavier knows he is smart, and witty enough. But when things get a little too real, he finds it hard to express himself.

And the feelings he has for you are the most genuine ones he has felt in his long, long life.

While he might not be someone who can wax poetic about his affection for you, he shows it in other ways, and physical touch in his favorite way to get his feelings across.

When you walk next to each other, he sticks close, arm brushing against yours. Occasionally, the back of his hand makes contact with your own. It's almost as if the tension builds and builds, until he finally connects your fingers, either intertwining your hands together or linking his pinkie with yours. No words leave his mouth. His touch says enough.

If the train is too crowded, he will pull you closer to him with a firm touch on the small of your back, making sure you don’t receive any unwanted bumps from strangers.

For a few weeks in your relationship, he developed a strange habit of pinching your cheeks and lightly pulling on them. You let him do it, knowing he would eventually move on and find some other part of you to focus on. Though the action did make your face heat up.

Another weird hyperfixation he has is nibbling at your fingertips absentmindedly. He plays with them often, but when he is distracted by a movie you two are watching, he will bite at them every so often. Sometimes, he is so focused on the screen that you doubt he even realizes what he is doing.

(He realizes. He just thinks every part of you deserves love. Don’t question it. It makes sense in his head.)

Cuddling with him is the perfect gift for your senses, stimulating you wonderfully.

Small nips on your skin, little lingering touches. He traces your skin with eager yet gentle hands, as if trying to memorize every curve and dip.

He buries his face in your neck and breathes in deep, and in that moment, bodies tangled with each other and the sheets, vulnerable and open, he will whisper, “I love you”.

It’s an affirmation more than a revelation, since his actions up until this point have all shown you that he really, truly does love you. So you whisper it back, trying to pour all your love into it, before slotting your lips together and using physical touch to convey your feelings right back.

RAFAYEL - WORDS OF AFFIRMATION

Rafayel is, in the simplest of terms, a yapper.

This man could talk for hours if you don’t stop him. About his art, about the meaning of life, about his experiences. He can express so much while also having an impeccable talent of being completely vague. Sometimes, you don’t even understand the things he says. And you’ve given up trying to decipher his every word.

But when Rafayel is talking about you, he makes himself abundantly clear. There’s no ambiguity about it; he loves you. And he will say it a million different times in a million different ways. Whether it be a bold declaration of how much his heart yearns for you, or endless teasing that is meant to rile you up and get a reaction out of you.

“I don’t think your talent lies in art, babe. It’s a good thing you’re a walking art piece yourself. No wonder I’m in love with you.”

“You’re leaving so soon? But I don’t think I’ve admired you enough for today. Don’t leave me!”

I’m impressed, Miss Bodyguard. You’re talented, and easy on the eyes. No wonder you captivated me from that very first day we met.”

Expect to wake up with a lot of voice notes on your phone. Minutes long. Sometimes rambling, sometimes actual ideas for new pieces that he wants to run by you. You better reply to all of them individually.

When you cuddle at night, you can talk for hours. No topic on earth is off limits with him. He will lay you down on a blanket on the beach, and as you watch the stars, he will tell you stories from olden times about star crossed lovers and tragic fairy tales. And he will turn to you, tell you how beautiful you are, how ardently he loves you, how he will never forget any moment he spends with you.

It’s almost like you can tell the exact moment he falls in love with you. Because he tells you. He never stops telling you. He voices his fears of you leaving him, he makes you promise you will never go away. He is clingy and he is whiny, and he is so endearing.

It’s hard to dismiss him when he is so loud about his love. And it’s hard to not fall for him just as he falls for you.

ZAYNE - ACTS OF SERVICE

This is an indisputable fact. Dr Zayne shows his love through acts of service.

He is intensely aware of your needs, and is miles ahead of you in determining what you require at any given moment.

It’s his way of showing you that he cares. He worries for you, and born from that worry is the urge to take care of you.

If you have had a long day, you will come home to a text from him saying he has ordered takeout and it will arrive at your house shortly, since he knows you are too exhausted to cook anything. It is always something different, but it is always food that he knows you enjoy. He will mix it with some healthy options too.

If you ever crash at his place, you will wake up to a tall glass of water and two aspirin on the side table, along with a note in his neat handwriting telling you that there is fresh cooked breakfast in the oven (he made it before he left for work).

Once you two are in a steady relationship, he keeps his house stocked with products you use. A spare shampoo and conditioner, toothbrush, a bathrobe of your size, a hair brush, you name it.

When you mumble something about the hand cream in your purse that is nearly running out, you will find a brand new tube next time you open the purse, and there is no need to even ask. You know Zayne put it there.

He is intensely observant. Even after knowing him for so long, it catches you off guard. He knows which of your clothes need to be dry cleaned and which ones are good for the washing machine. He knows which scents you use. Which products are harsher on your skin. He knows that contacts irritate your eyes after long hours of wearing them, so he keeps a small bottle of eye drops in your side table for that very purpose.

He scolds you for neglecting yourself, and he won’t hold back the harsh tone if he thinks your behavior is particularly destructive. To him, the best way to show love is to make sure your beloved is living the best life they can.

It is the littlest things, the tiniest details. And it shocks you, even after so long.

#love and deepspace #xavier #zayne #rafayel #xavier x reader #zayne x reader #rafayel x reader #love and deepspace fanfiction #lad #lnd #l&ds #xavier fluff #xavier x you #zayne fluff #zayne x you #rafayel fluff #rafayel x you #love and deepspace fluff

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lunahearts · 3 months

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Soooo I read all of Dungeon Meshi in this past week and I have many thoughts bouncing around in my brain and I think the only thing to do with them is some AGGRESSIVELY CLOSE READING of a scene I wanted to come back to and try to understand better.

So: I want to talk about chapter 28

This entire section of the story is something I feel like I am going to want to come back to a lot, because its such a transitional time and I feel like there are a lot of themes/ideas that I wasn't fully aware of during my first reading, and stuff I missed because of that.

One of the biggest things I have been turning over in my head is... hey, what was UP with the Marcille/Falin bath scene? Maybe it was because I was already primed to pay attention to stuff with them going into the story, or because I had already seen a couple of panels out of context. In any case, it really kind of stuck out to me as being very short but also VERY intense, while also being... hard for me to define? Some part of the nature of the intensity felt like it was going over my head.

I wasn't sure that revisiting it would help with this right away, but to my surprise, it actually WAS a lot easier for me to follow and understand when I went back to it. So I want to just do a close reading of That Scene and some other parts of the chapter & context around it all, because I think it offers insight into Falin & her relationships, and what purpose this chapter serves within the story as a whole.

So first of all, I think it's interesting that the scene starts with Marcille bathing Falin.

It feels very caring in a more platonic, less charged way then what will follow.

Marcille goes from this caretaker mode to joining Falin in the bath, and then of course we get the first of The Panels

(as a small note, I only noticed when revisiting that Marcille is using the rest of her Kelpie soap in the bath. Isn't that just the most heartwrenching little detail. Augh)

Anyway, one of the first things I thought was interesting going back to this is how much it reminded me of the very different sort of intimacy that came just before it - when Laios and Marcille assembled Falin's bones.

This is such a beautiful and intimate sequence, and something about Marcille examining Falin, whole, after the fact... I can't imagine there are not some echoes of those bones in Marcille's mind. The action seems more startling/intense for Falin at first, and maybe part of that is because Marcille has already experienced this level of intimacy with Falin's body in a way Falin herself wasn't a part of.

This panel in particular I think is a summation of the difference in the experience for them. This looks like... near orgasmic for Falin tbh, and Marcille is very focused on the actual like practical part of what she's doing, seemingly completely unaware of the Effect she is having on Falin.

The whole short sequence is focused on this intimacy that Marcille initiated seemingly without fully being aware of what she was actually doing. And once Marcille is satisfied, she is also the one that ends it, sitting back in the bath and moving out of Falin's proximity. All on her own terms, and for her own ends.

HOWEVER... Falin doesn't just let things go.

Instead, she returns Marcille's attention. First, by asking after her wellbeing:

Marcille, of course, deflects (there will be a lot of that in this scene).

But Falin doesn't let it go.

Falin is not a confrontational person. She likes to keep the peace. In this context, and in context of the way that Marcille was the one to come into Falin's space initially, the way that Marcille controlled the initial intimacy... this is striking. I genuinely think that these three panels might convey one of the most assertive actions Falin (as herself) takes in the entire story. One of the only things that outdoes it is the fucking INCITING INCIDENT OF THE WHOLE STORY.

I'd also like to point out here that this action of Falin's also parallels her resurrection by Marcille & Laios. It's is also a forbidden magical action done to save someone(s) she loves, and its something she does TO them, that they are not fully aware/able to react to until its done.

Anyway, back to the bath scene. Falin is taking action here and asserting herself. And how does Marcille react?

She flips out!! She rejects it! She tells Falin that she isn't supposed to be acting like that.

It's a very distancing response from Marcille, and also one that puts her back in that caretaker mode from the start of the scene. She also puts even more distance between herself and Falin by sinking into the water.

Falin doesn't give up though! She continues to assert herself. She's okay, she is allowed to chose to do this.

And Marcille continues to push her away. It looks to me like she only starts to relax a little once she fits Falin into a role she can better define and control. You're a patient, you're recovering, I understand this fact and you don't. Let me take care of you.

But, for a third time, Falin pushes back.

I don't think it’s coincidence that this is where she opens her eyes. She asks directly about the thing that they have both been dancing around:

The resurrection spell. The fact that Falin KNOWS about this, at least in part, recontextualizes the quiet battle for control between the two them. They both know at least some part of the truth. Marcille wants nothing else then to ignore it. Falin wants to be able to talk about it. Marcille's blatant refusal to give her those answers, I think, is what keeps them out of sync - intimate only ever in one direction at a time, never fully together.

And of course, even when directly confronted, Marcille refuses to engage with the truth.

This moment being on the bottom of the page is notable too. There's a beat here. The last panel holds on Falin's face. The reader reaches the bottom of the page, and they are held here for a beat as well, with Falin. It's not quite a rejection yet. What Marcille says isn't directly an answer to Falin's question, but it is a response. A valid one, even! Falin wasn't just asking the question after all, but struggling with guilt that Marcille has every reason to want to reject.

But then you move on the next page, and...

Marcille isn't actually addressing the question at all, not directly. She's deflecting, again. Oh we had a ~difficult time~, there were a lot of "tough situations." Even though she and Falin both know about the resurrection, and Falin has made it clear that she wants to talk about it, Marcille pushes away from the actual topic. She keeps things broad and indirect.

She offers the smallest gesture to Falin - nothing more than a whisper of 'don't worry about it I won't get in trouble' (even though Falin's concern was never just about Marcille getting in trouble).

Marcille then continues to deflect even further, completely changing the subject onto clothes and frog adventures, which seems to distract Falin as well, as she finally gives up on pushing.

And that's where the scene ends! Marcille pushes into Falin's space (without fully realizing), and Falin pushes back. She tries three times to get Marcille to acknowledge her wants, and three times Marcille rejects her, though she does eventually convey some truth. She is honest in her belief that Falin doesn't need to feel guilty, and that things will all work out, even as she continues to deflect the rest of the question. Falin finally accepts that, the topic of conversation changes, and we move on.

But there is a little bit more that happens between them. Towards the end of the chapter, they have this little 'oh no we have to share a bed' situation. Classic stuff.

And Falin seems to realize that the context of this is kinda different now then it was when they were in the magic academy. She's not a kid any more, and they just had those intimate moments in the bath. There's a new tension between them, or one that new at least to the bed sharing of it all.

And in this respect, too Marcille pulls away from what Falin is trying to say. She tries to frame Falin as a kid, tries to insist that nothing is different.

When I first got to this part, it honestly felt... a little uncomfortable? After the bath scene, it is really weird to move into a new intimate situation with Marcille explicitly treating Falin as a kid.

What I have realized in coming back to this scene, though, is how much I think its meant to feel uncomfortable. Throughout the chapter, Marcille's responses to Falin become increasingly patronizing. By letting some of that conflict between them resolve at the end of the first scene, the chapter seems to let things rest, and lets you set it out of your mind.

Then, when the same type of conflict comes back at the end of the chapter, Marcille is even more blatantly treating Falin like a kid, and the unfairness of it hits even stronger. They are both adults, and Falin deserves the truth. After 27 chapters from the perspective of Laios, Marcille, and the others in the group, this progression lets you feel things from Falin's perspective. It's supposed to feel uncomfortable because it IS uncomfortable for Falin, the way no one will quite tell her the truth.

After all, Marcille isn't the only one to do this kind of deflecting when Falin tries to ask about what happened. Laios has a similar response, right down to the 'treating her a bit like a kid' part.

Even more importantly, this final conversation of the chapter reveals one last layer in the knowledge/power imbalance between Falin and the rest of the party: she doesn't actually remember sacrificing herself and teleporting them out.

As I mentioned before, that action was one of the most assertive things we see Falin do in the story, and she doesn't even get to keep that for herself. Instead of being her action, her choice, it becomes yet another thing that the others know more about than her.

I think that's part of why there is such an air of melancholy to this hug they share on the next page

Obviously, obviously, there are so many emotions here for Laios and I don't think its all meant to be viewed as a negative thing, or that he or Marcille are being completely unreasonable. They've been through a lot, and what's more, they think they have time now. So much more time then they actually will have. Time to explain, to open up, to let Falin return to the group in full - as a teammate and not just as someone to be cared for and protected.

But they don't get time. And this relenting by Falin, this "I won't do it again," it's not something that feels triumphant. It's an attempt to comfort them, more a prayer than a promise. As if she is trying to exorcise a spirit. As if she is capable of promising that death won't come, eventually. It's what Laios needs, not what she wants.

That's the real tragedy of the chapter, I think. It's the one time, in the midst of everything, that they have the chance to give Falin what she wants - and they don't do it.

But I do think they realize that, and I think that this failure is a core part of their journey. It's another bittersweet taste to add to the mix - all the missed chances in this chapter to connect, amidst the moments of genuine peace they do get throughout it.

As Laios puts it later...

If Falin hadn't been eaten by the dragon, and perhaps if they hadn't failed her here, they never would have had the adventure that they got to share.

(or, perhaps more tactfully: in life & chapter 28, there are both good times and bad. Thanks, Chilchuk)

#dungeon meshi #delicious in dungeon #falin touden #marcille donato #laios touden #dunmeshi analysis #dungeon meshi spoilers

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puranami · 6 months

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✿ It's The Little Things ✿

A/N: My first time writing! Admittedly I'm very nervous, but also so excited!! Kept it simple with a small headcanon list to start, but I tried to write a decent amount for each point, and I hope that everyone is in character :0 Posting at 4am because I have no control over my life...

Summary: Little relationship things with the Strawhats. Can be interpreted as the anime/manga or the live action version of the character.

Characters: Luffy, Zoro, Nami, Usopp, Sanji

Content: SFW, G/N reader, slightest hint of angst in Sanji's part, but otherwise, pure unadulterated fluff! ✿

(Part 2 - Buggy, Shanks, Mihawk) (Part 3 - Franky, Robin, Law, Kid, Killer) (Part 4 - Crocodile, Rosinante/Corazon, Doflamingo)

Luffy

✿ He absentmindedly draws shapes on your leg, back, or whatever part of you is there as you sit together, whether you are watching the waves, or listening to one of Usopp's stories. He is almost magnetic in the way he ends up attached to you. If you're not feeling it, he will do his best to keep his hands to himself, but as soon as his focus shifts onto anything else, they're back on you, drawing little clouds and hearts. He tried, he really did!

✿ This bottomless pit inhales food like it's going out of fashion, but, much to the bewilderment of the rest of the crew, he will actually feed you from his plate as he eats, even though you are eating your own food. It may be a case of "1 for you, 5 for me," but it's almost instinctive for him; he's sharing something he's passionate about with you, and making sure that, in his eyes, you are happy, healthy and strong. He values your wellbeing more than food; you are one of the most important things in his life.

✿ Despite how chaotic he is in every aspect of his life, his presence brings you to a state of complete peace, even when he's yelling about whatever currently has his attention. Just knowing he is there comforts you in a way that nothing, and no one else can. As long as Luffy is there, being the same old Luffy he always is, you know everything will be alright in the end, and if it isn't alright, well, it isn't the end yet.

Zoro

✿ He always places a comforting hand on your head when he passes by, or ends up in the same general space as you. It's his version of a hug, a reassuring touch that he is there, and that he's happy to see you. Zoro is very subtle with his affection, at least in public, but even when it's just the two of you, he automatically defaults to the head pat. It comforts him as much as it does you, and the simple action alone conveys his feelings far better than he ever could with words.

✿ You both love silently observing everything going on around you, and it's such a comfortable silence. You just enjoy each others company while watching the world go by, with Zoro also keeping an eye out for any threats, as he does. Sometimes you end up passing silent judgement on what you see, and you have both developed this uncanny ability to gossip without saying a single word. It's honestly unnerving at times, but you are just so familiar with each others micro-expressions that it's second nature.

✿ Insults are terms of endearment. If anyone else called either of you such things, all hell would break loose - swords drawn, blood spilt, bodies hit the floor, the whole song and dance. It actually started out as a form of deflection, with both of you being far too stubborn to admit any feelings were there, even to yourselves; "No, I don't like you, shitstain, I tolerate you." - "Whatever helps you sleep at night, arseface." As you connected though, it just became your thing, and you love seeing who can come up with the funniest insults. Zoro is surprisingly creative in this regard.

Nami

✿ Nami has a habit of fixing your clothes and hair if something is out of place. It can seem overbearing to others, but she knows you appreciate the gesture. She spent years putting up walls to defend herself, and this is a safe way for her to have a little moment alone with you, giving you gentle little touches without revealing to the world just how important you are to her. It is a very grounding experience for both of you, and you end up doing the same for her on the rare occasion that she isn't completely flawless. She may purposely put things out of place so you have the opportunity to fix something too.

✿ She has an eye for the finer things, and loves getting you little trinkets, and especially pieces of jewellery, which often match or pair with hers, like pendants that fit together to make a whole shape, and such. Just don't ask her where she got them; "Shhh, you don't need to worry about that." All that matters is that you now have a tangible connection to each other, no matter how close, or far apart you are.

✿ Another person who relishes in comfortable silence. Of course you love chatting with each other, and often do so later into the night than you intended. Nami is very quick-witted and your shared snark is always so enjoyable! But it's the moments when you are doing your own thing together, basking in the warmth of that closeness that brings the most joy. Every so often, you will share something interesting or amusing, depending on what you're doing, but you always return to that silence. It's very domestic.

Usopp

✿ You both end up in regular fits of giggles, that grow into raucous laughter, before devolving into the sounds of various suffocating wildlife, which only fuels the hilarious fire. He doesn't even have to say anything at times; he just has a look, and as soon as he catches your eye with it, you absolutely lose it. The amount of nonsensical inside jokes you have is absurd in itself.

✿ Ever the storyteller, Usopp will wind down the day with you relaxing under the stars, telling you fantastical stories about the impossible feats of the great 'Captain Usopp.' His creativity and imagination are something you greatly admire, and as much as you try to stay awake to appreciate those qualities, the comfort he brings has you dropping off every time. He'll carry you to bed most nights, but sometimes he can only manage to drag you around like a corpse he's trying to hide, and he'll end up waking you up laughing about it.

✿ You automatically link your little fingers whenever you are close enough to. It doesn't even register half of the time, only realising when you need that hand or try to go your separate ways. When this happens, providing there isn't anything that needs your urgent attention, you like to dramatize your parting, playing up that this is the most painful moment of your lives! "Don't you dare let go, Usopp! We can both make it out of this alive!" - "I'm so sorry, I can't hold on any longer, and I refuse to drag you down with me." - "No! Don't say that!" - "I love you so much, but you need to let me go..." Leading to you unlinking your fingers, and exaggerated fake cries of anguish. It annoys everyone around you immensely.

Sanji

✿ You shamelessly flirt with each other, making everyone around you uncomfortable, groaning at how painful it is. You weren't together when you started playing this romantic game of chicken, giving back everything Sanji threw at you, and then some, but once you figured your feelings out, you actually developed it into a legitimate game where you attempt to be as sickening and obnoxious as possible. If there is no one grimacing, angrily telling you both to pack it in, or simply leaving the room; you aren't flirting enough. There is a points system, and you're currently in the lead. Sanji ends up caving over the things you say, and his brain loses the ability to form words, let alone string them together in a coherent sentence.

✿ Sanji always leaves a drink and a bite to eat for you to wake up to, since he isn't there in person, having to wake up much earlier to prepare the food for the day. Growing up in a restaurant, early starts are just part of his natural rhythm, so it doesn't bother him, but sometimes you try to wake up with him to at least watch the sunrise together, before going back to bed for a couple more hours. He cherishes those mornings, and there is always an extra spring in his step on those days.

✿ He takes every opportunity he can to share a glance and a warm smile, a gentle touch of your hands, or a chaste kiss with you. They are agonisingly brief moments, but Sanji needs them to get him through the day, otherwise he would just cling to you, and neither of you would get anything done! Unknown to you, these moments are also his way of reminding himself that you chose him over everyone else, that he is loved unconditionally, and that he is enough, without having to, in his opinion, burden you with his insecurities. He'll open up to you one day, and you will be able to give him verbal affirmations along with everything else~

#one piece imagine #one piece x reader #luffy x reader #luffy x you #zoro x reader #zoro x you #nami x reader #nami x you #usopp x reader #usopp x you #sanji x reader #sanji x you #monkey d luffy #roronoa zoro #cat burglar nami #god usopp #blackleg sanji

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artsekey · 5 months

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Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

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perpetual-stories · 4 months

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Eight Strategies for Improving Dialogue in Your Writing

Well, hi! Oh my… wow! It’s been a long time since I’ve posted! I’ve been very busy and I am genuinely sorry to all my followers, but that doesn’t mean I’ve forgotten about this account, but here is one final post for the year!

Hopefully next year I become consistent with it again!

Let’s begin!

One of the best ways to help a reader connect with your writing is by crafting excellent dialogue. Use these tips to learn how to write dialogue that showcases character development, defines your characters’ voices, and hooks readers.

Why Use Dialogue?

Good dialogue performs all sorts of functions in fiction writing. It defines your characters’ voices, establishes their speech patterns, exposes the inner emotions, and showcases their character development. Beyond mere characterization, effective dialogue can also establish the setting and time period of your story and reveal information in a way that doesn’t feel overly expository.

Authors use lines of dialogue to reveal a character’s personality and express their point of view. For instance, an archetypal football coach might speak in short, terse sentences peppered with exclamation points and quotations from famous war generals. By contrast, a nebbish lover with a broken heart might drone on endlessly to his therapist or best friend, speaking in run-on sentences that circle around his true motivations. When an author can reveal character traits through dialogue, it cuts down on exposition and makes a story flow briskly.

Eight Writing Tips for Improving Dialogue

The first time you write dialogue, you may find it quite difficult to replicate the patterns of normal speech. This can be compounded by the concurrent challenges of finding your own voice and telling a great story overall. Even bestselling authors can get stuck on how a particular character says a particular line of dialogue. With practice and hard work, however, lackluster dialogue can be elevated to great dialogue.

Here are some strategies for improving the dialogue in your own work:

Mimic the voices of people in your own life. Perhaps you’ve created a physician character with the same vocal inflections as your mother. Perhaps your hero soldier talks just like your old volleyball coach. If you want to ensure that your dialogue sounds the way real people speak, there’s no better resource than the real life people in your everyday world.

Mix dialogue with narration. Long runs of dialogue can dislodge a reader from the action of a scene. As your characters talk, interpolate some descriptions of their physical postures or other activity taking place in the room. This mimics the real-world experience of listening to someone speaking while simultaneously taking in visual and olfactory stimuli.

Give your main character a secret. Sometimes a line of dialogue is most notable for what it withholds. Even if your audience doesn’t realize it, you can build dynamic three-dimensionality by having your character withhold a key bit of information from their speech. For instance, you may draft a scene in which a museum curator speaks to an artist about how she wants her work displayed—but what the curator isn’t saying out loud is that she’s in love with the artist. You can use that secret to embed layers of tension into the character’s spoken phrases.

Use a layperson character to clarify technical language. When you need dialogue to convey technical information in approachable terms, split the conversation between two people. Have one character be an expert and one character be uninformed. The expert character can speak at a technical level, and the uninformed one can stop them, asking questions for clarification. Your readers will appreciate it.

Use authentic shorthand. Does your character call a gun a “piece” or a “Glock”? Whatever it is, be authentic and consistent in how your characters speak. If they all sound the same, your dialogue needs another pass.

Look to great examples of dialogue for inspiration. If you're looking for a dialogue example in the realm of novels or short stories, consider reading the great books written by Mark Twain, Judy Blume, or Toni Morrison. Within the world of screenwriting, Aaron Sorkin is renowned for his use of dialogue.

Ensure that you’re punctuating your dialogue properly. Remember that question marks and exclamation points go inside quotation marks. Enclose dialogue in double quotation marks and use single quotation marks when a character quotes another character within their dialogue. Knowing how to punctuate dialogue properly can ensure that your reader stays immersed in the story.

Use dialogue tags that are evocative. Repeating the word “said” over and over can make for dull writing and miss out on opportunities for added expressiveness. Consider replacing the word “said” with a more descriptive verb.

#writing #writing advice #writing tips #writers on tumblr #original writing

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foldingfittedsheets · 2 months

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In the bloom of my youth I found myself on an evening with my best friend in the park. We were young and it was a beautiful warm summer night to be out. At sixteen in a small rural town our options for entertainment were limited but it had been a good day.

Park is a somewhat generous term for the locale, what it amounted to was a cleared space with some planters and bushes, a tiny podium, and a square of trees round the perimeter. We had been hanging about with our friend who needed to leave, and waiting to be picked up ourselves, carless plebeians that we were.

So there we were, two teen girls in the park alone as the last of the light faded. Neither of us had cellphones, and my nana was collecting us right from the park as we’d agreed earlier. We were in no hurry, knowing she’d arrive when she arrived.

Until my friend said, “What was that?”

I looked up to where she was pointing but I didn’t see anything. “What?” I asked.

“I think it was… someone streaking?”

It was absurd to think. Our little town, tiny and rural as it was, with a streaker. But I loved my friend, so instead of laughing I said, “Let’s go see.”

I’m not sure what I thought it was, but I was confident she’d be less nervous if we investigated and found a plastic bag or a jogger in white. And I’ll admit I was curious at this anomaly. We made our way across the park to where she’d pointed.

That’s when I saw it too. A flash of pale skin under the streetlights, moving too quickly through the shadows and shrubs to see clearly. My friend clung to my arm, shrinking in on herself and I felt the first twitch of fear. Investigating no longer seemed like the thing to do.

I was determined to protect her from whatever was lurking, so I changed course and started cutting away from the movement, heading for the small shopping center not too far outside the park.

Our progress was suddenly arrested as the mysterious figure launched into our path. A man crouched on the pavement before us, fully nude except for a loincloth. His hair was in white people dreads. It was in every way like Tarzan had stepped out of the animated movie into real life.

My friends fingers were digging painfully into my arm and we stood stock still, staring at this bizarre apparition. He was still a good fifteen feet away from us. He stared back, making soft simian “ooh ooh” sounds.

I was struggling to process that a man in a loin cloth was right there when he started to move toward us. It was in his monkey half crouch, a few shambling steps, slow, with his eyes fixed on us.

“Leave us alone!” I declared.

He stopped, tilting his head this way and that. Then shifted like he would take another step.

I was fully afraid now, but I was also furious that he was menacing us and scaring my friend. I dropped her arm, marching forward with wrath in my eyes and said, “Get out of here before we call the cops!”

At my approach he turned and bolted back into the bushes. I whipped around and zipped back toward my friend, grabbing her arm and power walking us out of there. We arrived at the nearest business and darted inside, conveying what had just happened in garbled snippets.

The workers were outraged to hear our story. They let me call my nana to tell her where we were, then asked if we’d like to call the police. I shook my head. I emphatically did not want to deal with the police.

In the safety of the store my fear had started to feel ridiculous. It was probably just some bored prankster.

As we waited for my nana my friend quietly admitted she would rather liked to have called the cops. I apologized for not asking. We lapsed into silence. She said, “I can’t believe you went toward him.”

I couldn’t either. I didn’t remember planning on it, only I wanted to be between him and my friend. “Do you think he was crazy or was it just a prank?”

She shook her head. She didn’t know either. All these years later I still don’t really know what happened that night. If he was on a dare, or cosplaying Tarzan for fun, or if he was unwell. A lot of the details have hazed over with time but the utter dissonance of seeing a man in a loin cloth pop out of the bushes is seared into me.

I also remember back then, in a whisper both scandalized and fascinated, my friend admitting, “I saw his penis.”

#ramblies #ffs foibles #Tarzan #streaker #writing #story #true story #one of the weirder experiences I’ve had

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amaesama · 1 year

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jeff & EJ (separately ofc) popping their partners cherry & getting absolutely riled up about the blood ? like maybe they get very vocal and describe to them the mess they made on their dicks ? using words to fluster you up to no extent 🧚🏼‍♀️

Hi! I’m back! I’m so sorry it’s taken so long for me to do this, being in university means I have hardly any free time or motivation to write. Thank you for the request and I hope this is alright!

Content/warnings: I favour Jack, blood, Jeff’s a bitch,

Jeff the Killer:

Jeff isn’t a passionate lover, more like a selfish one, a little fucked if you will. We all know that he gets completely turnt off of blood and this will absolutely be conveyed in blood.

The man is definitely way too into knife play, but that’s a story for another time

The first time you have sex you’ll need to remind him that foreplay is indeed a thing cuz mans will be rough af and seeing as it’s your first time there’s just no way you’ll be able to take that. I don’t think he knows too much about sex, like he knows enough but he doesn’t know that you’ll bleed the first time, and you don’t bring it up cuz you thought it was a given that he’d know this. ALTHOUGH you had a feeling he would lose it for a bit.

So! You’re laying there, he’s on top of you (hopefully not in that rancid hoodie) and his cock is positioned at your entrance. My guy is shit at talking so he’ll just look up at you as a way of asking your permission, to which you’ll nod. He would never EVER say this but there’s a certain part of him that’s a TINY bit nervous so he hesitates for a second before he finally pushes in.

He hears you squeak and looks up to see you clenching your eyes shut in pain. He’s confused by this until he feels something dripping down his dick - he looks down and completely freezes when he see’s it’s your blood. He’ll just stare for a second before reaching down and touching it, like a weirdo. It takes him a few second to comprehend it and the man won’t even question it.

And then he loses it. He will instantly pick up the pace and push your legs up so he can get a good look at him going in and out of you, with your blood webbing over his dick. He’ll lean over to your ear and talk about how filthy you are, how beautiful your blood looks on yous skin, how you’ll have to clean up after the mess you made.

Usual name calling things, he’ll call you a dirty whore , messy slut, you’d be surprised at how creative he can get.

Lowkey degradation vibes.

Eyeless Jack:

As a former med student, Jack knows all about the body and what it does in certain situations. As a man eating demon thing he knows all about his own need to consume blood and flesh to live, which is why he’s…. Hesitant, to take your virginity.

He knows blood will rile him up so being the respectful man he is he’ll talk to you about it before you have sex for the first time. He’ll make sure you know all the terms and conditions and knowing him will probably whip out a form for you to sign saying you consent.

/hj

Nah fr tho, he’ll do lots of foreplay so you feel comfortable and prepared cuz he’s a big boy, to the point where you’re just like ‘😐 bro just get on with it.’ It’s not that he’s postponing it and avoiding actually having sex with you, he’s just worried for your safety and after a while the foreplay is more to help ease his spirits then prepare you for the potential dick down of your life.

The days or minutes of hours or whatever leading up to it he would totally just be reassuring himself that it’s going to be fine and you’re going to be fine and nothing bad will happen, but as he’s looking down at you now with the head of his cock slowly pushing into you, your tight virgin entrance squeezing around him until he’s finally able to sink fully into you, he has an awful feeling that he’s going to lose it.

For a second he thinks he’s safe, you’re face is slightly scrunched in pain but there’s no blood, right?

Wrong.

Very wrong.

He smells it first. A familiar metallic smell that he knows from every time he eats but a little sweeter, and at first he thinks he’ll be ok. Until he feels the blood.

He curls into you, his face into your shoulder as he breaths heavily into your neck. He’s trying so hard to just calm down, but you can tell from the grip he has on your waist that he can’t go on for much longer without going mental. He can feel and hear everything about you, from the tremble of your thighs to the pumping of blood in the artery in your neck. Your torso flush against his, the smell of your hair. He feels a rumbling growl in his throat as he instinctively thrust inwards, revelling in the feeling of your blood being pushed down his length.

‘Messy… so messy… so sweet…’

Nah you’ve lost him. He’ll start thrusting into you at a rapid pace, nails piercing your skin from how tight he’s holding you.

I honestly don’t think he’ll be able to form coherent words in this state, just a lot of growling and animalistic sounds, sometimes littered with curses and ‘dirty’ or ‘’s goin ev’reywherr… you’re- you’re cleaning this up.’

#creepypasta #creepypasta x reader #eyeless jack #jeff the killer #creepypasta smut #eyeless jack smut #eyeless jack x reader #eyeless Jack x reader smut #jeff the killer x reader #jeff the killer smut #Jeff the Killer x reader smut #smut

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tobiasdrake · 8 months

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One of the problems with science fiction is that there is no secular term for the soul. It's a religious concept with no scientific basis, but artistically it conveys a very important idea that I think sometimes gets lost in sci-fi. It's a simple term for an important idea that gets rejected out-of-hand because it's a religious idea, but it actually matters a great deal for non-religious reasons.

In essence, soul is an easy shorthand for the breadth of one's inherent, individual being-ness. To avoid the kneejerk associations that sci-fi fans have to the word "soul", I tend to use "continuity of consciousness" to try and explain this idea. But a lot of times people still don't quite seem to grasp it.

In essence, there is a tendency in sci-fi to think of people externally. A person is their demonstrable factors. Their appearance, their personality, their memory, their experience, all things that can be interacted with or recreated through the magic of super-science.

If you clone Joe, then the result is Joe! We brought Joe back to life through cloning. Now Joe is here with us again. And if we clone Joe again, we get two Joes! Isn't that amazing? And they're both Joe!

But.

Like.

We don't think of people internally. Are they both Joe? Is either of them even Joe? Or are they brand new people saddled with Joe's memories and personality and history?

What happened to Joe? We're only thinking about Joe in terms of our perspective as people who are not Joe, but what was Joe's experience? Did he actually die, and then wake up in a new clone body? Is his continuity of consciousness preserved? Did he actually experience coming back to life? Or did Joe die, and now Joe is still just dead. And there's been a new consciousness created to inhabit the clone?

What does this experience look like from Joe's perspective? Not Clone Joe. Original Joe.

Severed from its religious meaning, this is what the soul is an artistic shorthand for. Joe's "soul" is a simple and easy way of conveying the question, what actually happened to the inherent consciousness/personhood/continuous thinking existence of the true Joe? Does the clone share the same "soul" or does it have a new "soul"? Do their consciousnesses continue from one to another or are their consciousnesses separate?

Even calling it "consciousness" doesn't fully convey this idea. Because they can have different answers for that. The clone may feel that their consciousness extends back throughout Joe's death and life, while the original Joe's consciousness nonetheless ended at death. There is no secular term for the inherent quality of a continuity of individually existing, in and of itself.

And because there's no secular term, we just don't think about it.

But I do. I think about this every time I'm presented with a clone or a time-travel duplicate or a parallel universe counterpart, and told by the story to treat them as if they were the same. If this character does not share continuity of the original's consciousness, then they are not the same. Even if all other features are identical.

And I don't know how to express that with words.

#science fiction #cloning #writing #characters

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punkitt-is-here · 1 month

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Match 14 of Hikaru no Go was fucking incredible. What a fantastic episode showcasing why shows about rival sports can be so vastly compelling.

Like, not just as a piece of writing but as a piece of TV animation, supreme episode all around in terms of balancing out small character movements to convey a LOT of emotion with not a ton of budget. The simple line boil to convey how hard the kids are trying not to cry is so smart and effective as an artistic choice. No one is happy with how the matches went, everyone is disappointed, and the episode is so fucking good at conveying the very real feelings that come with trying your absolute hardest to get what you want and simply not receiving it. It was absolutely needed at this point in the story, because none of the characters are in a spot to get that kind of catharsis yet.

The show did a supremely good job of balancing the three simultaneous matches, showcasing why each of Haze Middle School's competitors were there, and what lead to the downfall of each game. You understand how each of the characters failed at their game, and the show spent several episodes setting up how that would happen. It doesn't come out of left field, it's something that you as the viewer kind of always knew would happen, and it's strangely beautiful in that way. Everyone is feeling a lot of emotions and the show is okay just...letting us sit in them. This was a big moment for a bunch of only-now-pubescent teenagers, of course they're going to feel everything extremely strongly.

I dunno. I didn't think I'd feel this strongly about an anime about playing Go, but the series has compelled me in ways I hadn't seen before with how solid the characters are. It rocks.

#my posts #hikaru no go

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etrata · 1 month

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New Phyrexia As A Cult

Content Warnings: Heavy discussion of cults and cult recruitment, mentions of sexual coercion, abuse, gore in images (New Phyrexian art so if you’re good with that should be all clear)

I’ve seen many people talking about New Phyrexia with the release of Phyrexia: All Will Be One and March of the Machine. And I’ve seen people talk about the misconceptions of New Phyrexia, like assuming it’s a hivemind. Which leads me into the key point I wanted to discuss with this. New Phyrexia isn’t a hivemind, but there’s a reason it’s assumed to be one by most casual fans. I believe it’s most accurately conveyed as a cult, and that analysing and interpreting the specific ways it is like one has a lot of merit for how it is viewed. I’m also aware that most of what I’m saying isn’t new. Am I the first person to say New Phyrexia is a cult? No. But most of the time, I’ve seen people simply use it as a pejorative term to add on to the list of problematic buzzwords to attach when criticising New Phyrexia or the Praetors. And regardless of whether I agree with those people, I do feel it warrants much deeper exploration into why New Phyrexia is a cult.

I know this post likely will stir up a lot of people saying some not positive things about me and it but I felt it needed to be said. To those people who have a knee jerk reaction towards this and are going to immediately want to send me something criticising this, I don’t anticipate you’ll read all of this. But at the end of the document I did include a list of questions I anticipate a few readers will ask, and I would simply like to politely ask that you read that segment before sending anything to me or replying to this post.

To start talking about cults and the nature of New Phyrexia as one, it’s first necessary to answer a few important background questions. Many people are going to ask if I have personal experience with a cult. To that, yes I have, I was raised in one from birth until around age 17. I would not like to discuss this further, I am simply including this so people know when I speak here I know what I am talking about. Another important thing is the definition of a cult. What differentiates a cult from any other religion? Many people disagree on the exact definition, and every now and again you’ll get someone claiming that all religions are cults. But simplifying it that much loses track of the real harm cults do to a person. I feel a key aspect for what a cult is is Dr. Steve Hassan’s BITE model. BITE stands for Behaviour control, Information control, Thought control, and Emotion control. The key difference between a religion and a cult is one of control. Cults invade every sense of your being, they seek to make it so you don’t have a life outside the cult and what is necessary to maintain it. This is why it’s so difficult for people to leave them. There’s a sense of fear of the unknown. That if you leave there’ll be nothing out there for you. Who knows, maybe they made you do terrible things you can never undo, how will the people who weren’t there forgive you? You can accept the bad parts, because the good parts are there and there’s this giant fear of what will happen if you face the unknown, if you leave. Which brings me to my first major discussion point: Ixhel.

For the unaware, Ixhel is the protagonist of the Phyrexia: All Will Be One side story A Hollow Body, by Aysha U. Farah. It’s a fantastic read, I would highly recommend anyone who finds this essay at all interesting read it. For a brief summary, Ixhel was created by Atraxa- who was herself formerly a Mirrordin angel before every Praetor save Urabrask compleated her- to be used as a soldier/assassin. She feels devoted to Atraxa, but tries to suppress her other feelings- the feeling of love, of want of affection and approval. Throughout the story, she faces challenges to this suppression: a phyrexian named Belaxis who aids her in her mission, the Thane of Contracts himself, Geth, who challenges her on her devotion even as she kills him, and Atraxa herself in the end. She successfully completes her mission to slay Geth, but his words bother her. About her being a faceless drone, replaceable. So she takes Belaxis and Geth, and uses the Dominus of the Dross Pits to combine them into one being, now named Vishgraz.

Atraxa is furious at the idea of their creation. But it’s not necessarily their creation itself that she really has an issue with. It’s that the creation was made without being ordered to. Vishgraz represents a threat to her not in their existence but in showing that Ixhel took an action other than what was ordered, even if she did it in hopes of imitating her superior in the cult. Because if she can take one action away from orders, she can take more. And that is a threat to her loyalty, which must be punished to ensure she stays in line, to ensure she stays another faceless drone. And Ixhel does take another action aside from orders, an even more direct disobedience: she spares Vishgraz’s life when ordered to kill them.

Ixhel represents someone born into a cult. She only ever did what was ordered, because it was all she knew. But cults are not a natural state of mind, they’re a method of control that can be broken free from. And this shows with Ixhel. She obeyed mindlessly, until she was given another option, an idea of what could help her, what could make her fix those feelings she had been taught to ignore and repress. This is a common experience, it’s certainly one I went through. It’s not the only experience with cults though. Because another thing to mention is recruitment, and Phyrexia: All Will Be One provides a great example of this too.

Another aspect of the storyline for this set was the idea of compleated planeswalkers. This is a new thing for Magic, with the idea introduced in Kamigawa: Neon Dynasty, with Tamiyo. However this was most fully analysed during Phyrexia: All Will Be One’s main story, by Seanan McGuire (who also did a fantastic job with that story, I would highly recommend that one as well). But something I recently came to the realisation of, that I have not seen discussed, is the common factor between every single compleated planeswalker: they’re all the exact types of people who are most vulnerable to recruitment by cults.

If you’re reading this and thinking “most vulnerable” I want you to keep in mind I mean exactly that. Anyone is vulnerable to recruitment by a cult, especially if you think you’re too smart to be recruited. And that’s where our first victim I’ll discuss comes in, Jace Beleren. Jace is a man who prides himself on his intelligence, on his skill with his mind. But in the story, he falls prey to New Phyrexia because he underestimates them, and overestimates his own skills. The love of his life, Vraska, has clearly fallen to compleation. But he thinks he can be smarter; he can use his illusion and mind magic to give her one last day, one last day together with him, where they can pretend like she hasn’t been infected. And that is what makes him be taken in by the cult.

Jace fell for it because he wanted to be clever and thought he was too smart, but also out of love and devotion to someone else who fell. I believe even if he knew what would happen he would do it again out of devotion. And who knows, the story so far seems to imply he had a plan, that he knew what he was doing. Maybe I’ll be proven wrong and he’ll turn out on top of this situation. But even so, he still lost to New Phyrexia due to this.

Next off is Vraska, another key type to fall for cults. Vraska throughout her entire life has been abused by society, a victim of racism and police brutality. All of those are horrific acts done against her. And cults reach out to those people, they tell them they have the answer, that if they simply follow them they will find the ability to help other downtrodden like themselves, or find a sense of community with others who will not judge them, so long as they follow the rules. Lukka is also very similar to this, but slightly different. Lukka is an outcast, rejected by his entire society, like a very extreme example of ostracisation and bullying. Humans are naturally social creatures, and this can easily be turned against us with a want for acceptance leading us to take abuse we should not tolerate. New Phyrexia also promises him strength, the strength with which he can avoid being hurt again, which he can use to carve a new place in this world and hurt everyone who hurt him, but much much worse.

Nahiri also falls under a similar umbrella with Lukka, but slightly less self motivated. Nahiri has a burning desire for revenge, for power against the figure in her life who let her down, Sorin Markov. But also, she believes in her heart of hearts that she is a protector, that everything she’s doing is to protect her homeland and her people, the Kor. And what leads her to being compleated is this sense of protection. She sacrifices her own health and her chance at a cure because she wants to ensure the success of the mission of stopping New Phyrexia. And her self sacrifice to do this may have helped the mission succeed, but it doomed her to fall.

Nissa is very similar to her here actually, as she also fell due to helping someone. She trusted Lukka, and tried to help him to the end, and this led her right into New Phyrexia’s trap. Others who fell this way too include Ajani and Tamiyo. They all trusted someone or sought to protect someone, and that trust was used against them. This shows the type of people who fall for cults because they are selfless. Those who fall because they don’t see a value in their own worth as an individual, but do see it as a collective. This is one of the major flaws of white mana: it’s bad at putting yourself first. It’s so easy to simply fall in line with a cult when you’re used to falling in line and obeying to help the greater good, because with the right words it’s easy to convince anyone that anything is the greater good. It feels safe to take some sacrifice, because after all, we’re taught to admire martyrs. We’re taught to emulate, and share. And those are good instincts don’t get me wrong, one of the most beautiful things about humanity is our capacity for love for our fellow man, the ability for strangers to care for strangers so readily just because they need help. But cults take advantage of that, and New Phyrexia is no different.

This is also touched on in the story Cinders, by Cassandra Khaw. This story is unique because it showcases an aspect of New Phyrexia we haven’t touched on here, the Quiet Furnace. While most aspects of New Phyrexia are definitely considered bad, the Quiet Furnace is the one I’ve seen the most arguments for about it being ethical and good. And while it has the most potential for good with this freedom, it also shows more of how cults prey on the most vulnerable. In the story, a Mirran woman, Reyana, is tempted towards compleation by Slobad. Reyana lost everything. She’s fighting a war she never asked to fight, constantly on the run, constantly in fear for her life. And they show her her mother. At peace with the cult, happy, caring. A lot of people join cults simply to follow loved ones. And this is the exact way Reyana joined. A key thing to showcase that this was not genuine freedom, that despite this promise of peace this was a corruption of herself, is the consequences after. Does Slobad and his group allow the Mirrans to freely mingle with the compleat, to simply talk among them knowing they chose differently? No. While he claims this is a free choice, he also artificially holds back interaction between the cultists and their Mirran family, all interaction unless it is for the purpose of recruitment. This shows the real reason for all of this. It’s a show, a show that things can be good, a promise that life will be better if you join and obey, because those you care about made that choice too. If they really believed in this freedom of choice, the Quiet Furnace would not shun contact with Mirrans, simply tolerating their presence without compleating them, it would embrace contact with them, embrace the diversity of perspective those who did not choose the same as the compleat bring to the table. There are good people among the phyrexians, people who believe what they are doing is right and towards peace, towards helping everyone come to a common understanding. Most criticisms of New Phyrexia I’ve seen make the mistake of calling them all monsters, not thinking for a moment that they aren’t monsters, but people, people who made a bad choice for good reasons. But those people don’t realise that they themselves are a victim, a lure in a trap to make others take a choice they never would’ve made otherwise, with the threat of losing contact with their loved ones if they don’t make that leap.

Another point to consider is what cults offer you, and what New Phyrexia offers you. People join cults because they promise something they lack. Most often that is a sense of community, of welcoming, of becoming, and of love. The price to pay is simply your individuality. When you think about New Phyrexia, that fits perfectly in theme. The oil takes away your worries, it makes you unconcerned with what troubled you prior to your compleation. It doesn’t feel like something wrong, something infecting you, it feels like…. completion. Like something you’ve always been missing has been found. And that’s alluring. That’s genuinely a tempting proposition. Think to yourself, what price would you be willing to pay to not have to think for yourself anymore, to be able to feel safe and just live day to day. That’s the promise of cults. And that’s the promise of New Phyrexia. But it’s not a healthy promise. Following charismatic leaders blindly simply leads to suffering, whether it’s for you or those outside the cult, or others inside of it. This is even shown in the text, in the story for March of the Machine by K. Arsenault Rivera.

When Elspeth faces off against Elesh Norn, she has been changed. She gave up her life in a moment of turmoil, sacrificed her being to save the multiverse. And she was ascended because of it, having her sense of self altered and her physical form transmuted, when her only choice otherwise was death. Sound familiar? So when Elspeth threatens Norn's rule of power, what does Norn promise her? Friends among the phyrexians, lovers among them. She points out their similarities, how Elspeth is transformed as well, simply in a way deemed prettier by society, how her form is irrevocably altered, how she has a creed she is following just as much as Norn. And Elspeth does think of this offer, she does look around and think of how happy everyone looks, how content they seem to be to be cogs in a great machine forged with glorious purpose. But Elesh Norn doesn’t even think to talk about the consent of those people in the cult for whether they’d even want to be Elspeth’s friend or lover. Many cult members do end up coerced into relationships they do not want, and this is a showing that Norn is no different from any base cult leader. She knows that people deserve freedom of choice, and freedom of thought. The moment Elspeth realises Norn is wrong, the moment she realises she is nothing like Norn, despite the similarities between her religion and Norn’s cult, is seeing how Norn treats Jin-Gitaxias. Jin raises a simple objection, a logical one, that Norn is spending time discussing and talking while their soldiers, their people, are dying. And Norn tells him to be silent. Chief among all things, cults silence dissent against the leader. One could say that’s the cardinal sin in a cult. And that is what makes Elspeth realise she could never be like Norn. And hopefully, eventually, it is what will help Elspeth keep in touch with her humanity after her transformation. Because no matter what, the key lesson is, even the strongest of us is still vulnerable to temptation, to the urge to lose ourselves in obedience of another. And it's more important now than ever to remember to fight that urge.

Anticipated Questions (FAQ I Suppose But Ahead Of Time)

But I don’t see New Phyrexia this way, I think it’s (Insert X Narrative): That’s your view. You’re entirely entitled to it. This wouldn’t be very much of a good essay talking about cults and the importance of the freedom of choice if I insisted everyone else follow my point of view and agree entirely with everything I’ve said.

Are you saying I’m wrong for liking New Phyrexia?: Not at all. Again with the point before, this is my interpretation I am posting for literary merit in hopes it may interest others and perhaps aid their understanding of New Phyrexia. There’s absolutely nothing wrong with liking villains. It’s simply an understanding I came to through a lot of thinking about New Phyrexia I felt others may enjoy. The last thing I want is to start some sort of flame war over this. In fact if you use this essay to start such a flame war and try and make others conform to your beliefs, you have missed the point entirely.

Tell me about your personal experience with cults: Respectfully no. I will talk about that to people I am comfortable talking about it with. People who friend me on Discord may ask me, I may answer but I will not mind them asking. Otherwise I prefer not to share.

If you don’t want people to change their views, why did you post this essay?: I was thinking about my personal experience with cults and I thought others may want to see them and it may interest others, and it helped me type out my own personal feelings.

Isn’t it meritorious to discuss how New Phyrexia also has Christofascist elements with the Machine Orthodoxy and the specifics of the religion and how Norn demands they conquer?: For this specific essay, I actually believe no. A key thing a lot of people don’t think about is not all cults are the same belief systems. They don’t all approach with end of the world rhetoric, or some crazy theory, or hatred of others. Sometimes they’re a group preaching love and acceptance and tolerance, and claiming that you will feel much better with the cult. Sometimes they’re groups trying to take in the underserved of society and use their righteous indignation to serve their own ends. It doesn’t matter that New Phyrexia is Christofascist for why it is a cult, for all we care it could be about refusing violence entirely and spreading tolerance and goodwill to non phyrexians and preaching for coexistence. The key common factor is a manipulation of the members and control of their lives.

Despite all this I’m going to send you an ask or DM saying you’re horrible for this post in some moralistic way: Ok.

#magic the gathering #new phyrexia #MTG essay #Phyrexia: all will be one #march of the machine

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