I feel it’s not only Garnet, but also Pearl who regularly mediates to centre herself.
When Garnet and Steven arrive at the very beginning of Adventures in Light Distortion, Pearl is on the ground looking despondent.
It is only a short while after they arrive that she make a face as if surprised, which means she wasn’t already aware of their presence earlier.
And then she stands up and says, “Oh, you’re back!”
That she and Amethyst had relieved and almost glad reactions to their return shows what I feel implicitly goes on between the gems. I’m willing to bet Garnet told her and Amethyst nothing about where she was going, why she was afraid, and what she was going to do. All they likely knew was that she was going to find Steven.
And it speaks of Garnet’s action-orientedness in times of conflict, but how it can also cause the people around her to worry without her meaning to cause them stress. Pearl mediates too, as much as it would seem like she just lets her feelings explode around her.
When something bothered me, I didn’t talk with anyone about it. I thought it over all by myself, came to a conclusion, and took action alone. Not that I really felt lonely. I thought that’s just the way things are. Human beings, in the final analysis, have to survive on their own.
Isaac Asimov’s “Three Laws of Robotics” written by @llewcie 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm. 2. A robot must obey orders given it by human beings except where such orders would conflict with the First Law. 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
This scene from Berserk: The Battle for Doldrey film depicts a very different Casca (and Adon) fighting very different fight with the same results when compared to the 1997 anime adaptation. If you haven’t read my GMP analysis for the 1997 adaptation, I suggest doing so before reading this one.
Why are you so fond of Morrison's action comics run when so many were disappointed and felt it didn't live up to All Star?
I’ll admit: I was very disappointed when I first read the new Action Comics #1. It was all…weird. Superman was a jerk! He’s threatening bad guys! He’s fighting cops (I can assure you, that last bit would not hit me so hard these days)! I got that a more Golden Age vibe was coming, but I guess I’d really just expected the All-Star version jumping over buildings. Once I adjusted though? Morrison’s Action is as good as it gets.
Certainly, as you noted, it’s not in the same echelon as All-Star. It was never, ever going to be. All-Star Superman was arguably the best creative team in comics working with near-total creative freedom as part of a new brand designed to mimic the success of Ultimate Marvel (which they’d later attempt again with the New 52 and, god help us all, Earth One, to considerably lesser results), meticulously and over the course of years, to do a single perfect predetermined story. Action was Morrison using some leftover ideas for a six-issue arc as a favor to DiDio, that happened to get expanded into something bigger when he was asked to do a two-issue filler story and it snowballed from there. It doesn’t belong in the All-Star tier, or even the gold standard of longform Morrison runs in Batman. But I think it might be on the JLA level.
I have to assume that the impossible All-Star comparison is what ruins it in most peoples’ eyes, because if you take a general poll, I expect you’d find
* Most people like the six-issue origin arc
* Most people like the two-issue Legion story
* Most people love the one-shots with President Superman, Superman’s first adventure and Krypto
* Most people dig the finale
The only part people seem pretty consistently ambivalent on is the 3-issue story with “The First Superman”, and while that’s definitely the weak point of the run, even that’s a better stretch of Superman issues than any non-Morrison Superman comics for at least about a year in either direction. He fights alien construction workers and adopts a new secret identity and learns all of medicine! That’s fun stuff! And right after this he fights a super-powered ghost mummy that wants to conquer the world! This whole run is full of more fun stuff than Superman got in some entire decades!
And that three-issue story was still instrumental in providing what almost no other version of the character has been given: a well-defined character arc. I wrote just the other day on how, unlike Batman’s fairly coherent personal narrative (to the point where Morrison built a whole run around that), Superman’s kind of fragmented into a bunch of different, incompatible takes. What Morrison tried to do was (by his own admission if I recall) force Superman into that same paradigm he’d worked with for Batman, imposing a character arc onto him that matched up with his actual real-world development: he starts as a rough-and-tumble social crusader, realizes he’s scaring people and starts to soften up a bit around the edges, turns into the wild Silver Age cosmic champion as weirder threats start coming along without losing sight of the little guy, goes through his (post-)crisis of the soul (though Morrison has him question if there must be a Clark Kent rather than a Superman, because if he has to pick between his own happiness and helping people, he’s instinctively going to go for the latter), and emerges out the other side as a synthesis of the best of all of those takes, a brawling kind-hearted hero of the people fighting cosmic madness. That’s practically the point of the last arc, where while he’s warring against a battalion of his greatest adversaries as the 3rd dimension falls apart around them, it’s still really about Superman fighting a dick businessman in a suit trying to co-opt and commercialize his image while talking ordinary people into unwittingly selling out their own best interests by posing as a benefactor (to the point where he emerges initially as a flock of angels), and Superman wins by uniting them against him. Instead of the largely soulless fusion of continuity details we got for Superman’s updated beginning in Secret Origin, this was a combination of personality takes that gave us a Superman who changed, fucked-up and grew while still being Superman.
Speaking of how this run was constructed, I also feel Morrison did a better job than anyone else on any of the major titles of actually living up to the premise of the New 52: reimagining and hyper-modernizing the characters while still keeping the essential spirit of what makes them work. Along with Rags Morales, Brad Walker, Gene Ha, Andy Kubert, Ben Oliver and Travel Foreman, he created an aesthetic for Superman and his world that looked sleeker (except that damn armor suit) and more ‘real’ while still including all the essentials. Major elements like Kryptonite, Metallo, Brainiac, Mxyzptlk and Krypto were overhauled and made more ‘realistic’ while still keeping all the stuff that made them cool. Villains with promising aspects who’d never fully worked like Doomsday, Zod and Terra-Man were recombined, remixed and reintroduced as new, honestly far superior creations like Super-Doomsday, Xa-Du and Nimrod. And along with that arc, and Morrison’s traditional weird ideas, efficient characterization and his recent thematic preoccupations with never-ending cycles (with Superman’s ultimate triumph at the end being to resist starting over again and moving forward so he can keep saving people), we got the best Superman run we’ve ever had - a take that should have changed him forever for the better, but like so much of Morrison’s greatest material intended to fix struggling concepts, ended up dust in the wind the moment he left.
At least it gave us t-shirt Superman, who was both great and also the only new concept introduced to the franchise in the last decade to meaningfully stick around for awhile. And Sholly Fisch’s backups were consistently A+, and in a just world he’d have been given the main Superman title.
Here’s my full character analysis on Karma Akabane from Assassination Classroom! Enjoy!
TW for some mention of child abuse/neglect
I’ve often heard people refer to Karma Akabane from Assassination Classroom as ‘insane’ or ‘overly violent’ or ‘scary’ (even describing him as some of these things myself) but after rewatching the first 20 episodes of the first season (still re-watching the rest… though I think it helps prove my point) I’ve come to the conclusion that Karma is really none of these things… sort of. How I feel about this character who I love so much is so hard to explain that I’m going to take this whole paragraph/essay thing to try to explain how I feel about this character and what I think he means/represents.
Please keep in mind that this is MY interpretation of Karma’s character. And if yours differs from mine that’s FINE!
Part 1: Mindset (and how this relates to his intelligence)
Karma is most definitely not insane. He is a talented kid who does not feel the need to try. Because up to this point his talent has carried him enough. People have always praised him for his grades on their own and his BASELINE intelligence level with basically no studying, promoting what my school liked to call a ‘fixed mindset.’ This is the idea that there is no real room for improvement and that where you are now is where you’ll always be. These kids are the kids who ‘don’t bother to study’ because they figure (subconsciously) that where they are now is where they’ll always be, so why bother?
Karma has a similar mindset to this while not being exactly the same. His is more along the lines of ‘why bother because I am literally the most intelligent person in the room, including teachers.’ And for his entire life (up until he doesn’t do as well on his final exams) he has been constantly told that he is doing well, he is a brilliant student, he has teachers on his side as long as he keeps his grades up (which is no problem for him at all in any class under any circumstances). Not once has Karma been told that he needs to study more, or get better or he’ll fail and be deemed worthless, which makes him the opposite of pretty much everyone else in Class E. Which is one of the huge things that sets him apart from his classmates and makes it hard for him to relate to them and them to relate to him. When he’s first introduced, Nagisa is shocked at how far ahead Karma’s abilities are. And this is the kind of treatment Karma is used to.
He’s used to the SMARTEST KID IN THE ENTIRE SCHOOL AND THE SON OF THE PRINCIPAL seeing him as a rival. And everyone being jealous of his abilities. Of course he’s going to feel entitled to his grades and like he doesn’t even need to study. Because that’s what’s been communicated to him ever since he started Junior High School.
Koro-sensei has been the first teacher that has had a growth-mindset (the mindset that studying and hard work will be helpful and that praising hard work over the end result makes more sense) when it comes to teaching Karma. He’s the first to teach Karma that he does have room for improvement and that he can become an even better (meaning more over-achieving) student that he already is. Which is one reason I can rush in to say that Koro-sensei is a brilliant teacher. He’s not just capable of helping a certain type of troubled student, he can help anyone who needs him unlike some teachers (cough, cough, my Latin teacher, cough, cough).
Part 2: Social Life/Interactions (Or his relationships with his classmates and how they see him and how he sees them)
While it is never stated outright, it is heavily implied that Karma used to be a social outcast even before he joined the E Class. This is most likely due to the fact that he IS violent on some level and, as Nagisa puts it, ‘I felt like he was on a completely different stage form me.’ Basically Karma’s intelligence and skill are so high and alienate him so much that very few even try to interact with him. And often he pushes the ones who do away because he’s not interested in them. The only real friend he seems to have had is Nagisa (going out of his way to beat up bullies and people messing with Nagisa), but they drifted apart after Karma realized just how terrifying his friend really was.
Karma’s interactions with his fellow E Class students are not quite as… alienated I guess is a good word. He doesn’t seem as alienated in this class of misfits than he did when he was on the main campus. On the main campus, grades were all that mattered and as long as you had good grades you were right in pretty much every situation. But this is not the case in the E Class. In the E Class, everything matters. Personality, social skills, grades, physique, EVERYTHING. For the most part, Karma was conditioned to think that most everyone with grades below his were ultimately ‘worse’ than he was (this will connect to a point made later) and I believe it was partly his parents who conditioned him to think this way. Which is part of his intense teasing of Terasaka. Part of his interactions with Terasaka is obviously some kind of way of expressing endearment (meaning he actually likes Terasaka and enjoys interacting with him this way out of a legitimate enjoyment of spending time with him and doesn’t really know how to express himself in any other way (WHICH WILL CONNECT TO ANOTHER POINT)) but another part of it is a legitimate putting down of Terasaka (who, mind you, is the bottom of Class E) for his abhorrent grades and seeming lack of intelligence.
Connecting to the idea that Karma teases Terasaka out of endearment, at the beginning of the series, it seems more like legitimate ridicule. He legitimately believes that Terasaka deserves to be ridiculed. But as the series continues and Karma’s relationships with his classmates develops (I’d say the main turning point for this is their second encounter with Itona and Shiro) his teasing seems to become more of a way to express endearment than a way to express ridicule. He enjoys teasing Terasaka, not because he likes hurting his feeling, because he knows Terasaka will react and Terasaka understands this as well. This is just how Karma knows how to express his affection. This is the only way he really knows how to communicate with people and tell them that he likes them. And I think that Terasaka knows this, and silently agrees to accept Karma’s treatment because he knows that Karma doesn’t mean most of what he says (I also believe it’s entirely possible that Koro-sensei or even Nagisa talked to Terasaka one-on-one and asked/told him to go along with Karma’s teasing because they both understand what Karma’s like and believe that this is the best way to get Karma to connect with his classmates more)
After the Civil War episodes in season two, he becomes clearly more comfortable in interactions with his classmates (especially Nagisa) and seems more comfortable expressing his emotions and feelings about his classmates (again, especially towards Nagisa, who seems to be the classmate he feels the most comfortable with, for obvious reasons as Nagisa is the classmate he has known the longest and one of the only people he has ever had a legitimate relationship with and has ever tried to have a legitimate relationship with him). As much as I believe the Space episode is completely ridiculous from a story telling standpoint (so much so that I laughed out loud at the concept of the episode, especially after the insanely high quality of the Civil War episodes) it really shows Karma’s new levels of comfort in expressing feelings of affection towards Nagisa without using aggression. Stating that he only agreed to go into space because his friend wanted to go with him. And all his classmates are now aware of the intimacy of his and Nagisa’s relationship (to make one thing clear, when I say intimacy, I mean as in friendship, they have a very intimate friendship) and everyone respects it. Despite what Karma believes up until this point (that needing friends makes you weak and working hard makes a victory pointless) it’s proven to him that having friends and being able to cooperate and working hard actually makes his classmates and teachers like and respect him more and will also make victory even more rewarding.
Part 3: Family (or relationship with his parents and how this has affected his personality and views)
So, before I dive into this section, I just wanna mention that this section is mostly speculation as Karma’s parents are literally only mentioned once in the entire anime (when the class is talking about whether or not they like their names and Karma says he believes he inherited his parents’ weird tastes since he likes his name). This is pretty much all my interpretation of what I believe Karma’s relationship with his parents is like based on his personality.
So… My perception of Karma’s relationship with his parents… You saw the trigger warning at the top of this analysis. What do you think?
Shocking I know. I think Karma’s parents are, at the very least, emotionally abusive, even if not physically. Though I would not rule that out as a possibility. I certainly believe they are at least part of the reason that Karma values his ability to win with ease and thinks of himself as better than his classmates, and definitely related to why he has some violent tendencies.
Karma’s parents likely had incredibly high expectations of him and most likely threatened him with either violence or over the top punishments for grades they believed to be ‘beneath’ him. This likely caused Karma to develop a feeling of superiority over his classmates because he was able to meet these ‘acceptable’ grades and his classmates either couldn’t or had to study a lot more to do it.
This is also related to Karma’s lack of social skills. It has already been proven that, on average, only children have fewer social skills than children with siblings (due to more interaction with other children as opposed to mostly with adults, I myself fall into this trend) and he likely doesn’t feel comfortable approaching his parents to have real conversations with them, which has likely lead to his inability to really trust teachers until one expressly tells him ‘I’m ON YOUR SIDE,’ and then, when this teacher betrays him, Karma nearly kills this man for not meeting his expectations. You see where I’m going with this. Because Karma has either been beaten for not meeting expectations in the past or threatened with a beating for not meeting expectations. After this Karma hesitates to trust Koro-sensei and actually looks forward to being able to kill his teacher because he believes that Koro-sensei will do the same thing his past teacher did and betray him again. It is only after a great deal of difficult ordeals and Koro-sensei repeatedly expressing to Karma that yes he is ON HIS SIDE and he WILL NOT BETRAY HIM does Karma begin to trust, respect, and listen to his teacher. Which obviously contributes to his attachment to Koro-sensei.
Karma’s parents also appear to be absent. From the one shot we see of Karma’s house, his parents appear to be completely absent, and Karma seems completely comfortable on his own and is allowed to go to the festival on his own and feels comfortable spending 5000 Yen (about 50 Dollars) on his own without parental permission to buy a gaming system as if he’s confident they either won’t find out or would be okay with it. Either way suggests they are either negligent/absent or have enough money that Karma’s excessive spending at random times isn’t a big deal (cause we know that pranking gear ain’t free, and I doubt Karma would actually steal stuff or that Koro-sensei or Nagisa would let him even if he wanted to). His parents’ absence/abuse is also suggested by him not talking about them often. A trait shared by Nagisa as well, who is also living with an abusive parent (though she’s abusive in a different way, and I’ll probably write more about Hiromi Shiota and her significance to Nagisa’s development in the future), almost every other character at the very least mentions their family situation, whether they have parents or not, but Karma, like Nagisa (until everyone finds out of course) never does.
Part 4: Koro-sensei (and his impact on Karma’s life and personality)
It is undeniable that Koro-sensei has a positive impact on every single one of his students. Karma is no exception. Shortly after Koro-sensei enters Karma’s life, Karma begins to learn that hard work is not to be shamed, nor is is a sign of weakness. Hard work and effort is something to be rewarded and something that makes you a better person.
Karma also begins to learn that his classmates are not his enemies, and are actually valuable assets who are all strong and intelligent in their own way. Koro-sensei teaches Karma that there is always room to improve, regardless of what his scores are and what his parents say. Or what the school claims. Koro-sensei has helped Karma get over his communication issues and the values that his parents have (likely) reinforced in his mind. In many ways, Koro-sensei has done a better job of parenting Karma than his parents ever did.
Koro-sensei is the one who taught Karma how to communicate better both with his peers and with his teachers as well as teaching him the values that Karma needs to use his intelligence/talent to full use and has helped Karma unlearn the damaging values and violent tendencies that have likely been literally beaten into him.
TLDR: Karma starts off as a violent kid with few proper social skills and kinda messed up values, likely caused by his parents being abusive, until Koro-sensei comes into his life and practically takes over Karma’s parents’ role as a caregiver/teacher who makes sure Karma is getting the right values and knows he is always capable of more.
HOLY GOD that was a long analysis!! THANK YOU FOR STICKING AROUND TO THE END IF YOU DID! I’ve been working on this for a really long time (about 3 months I think) and I’m pretty proud of it! So, thanks for reading!!
All those things you want to say - just say them. Because as soon as you start thinking about them, it becomes a rehearsal for a show that is never going to happen. This drains your energy - quickly, insidiously, parasitically. Or has in my experience.
How to break the cycle of over-thinking? ACTION. JFDI. Just fucking do it. Right or wrong - make a decision, carry it out. Let the chips (fries?) fall where they may.
If you think someone is stringing you along, they probably are. Confront them. Be upfront - challenge them. That’s not an attack - it’s you taking responsibility for your self esteem.
Clarify your foundation - you take responsibility for your self esteem
Establish your breath - calm the fuck down
Set your intention - where do you want to be?
Synchronize breath and movement - JFDI.
“[…] Kurosawa focuses less on the action, and more on the consequence of the action.
Throughout most of the set pieces, Kurosawa amplifies the death of each antagonist by having the camera show the demise of every single bandit. How this typically works is that we begin with a shot that shows the samurai attacking, but then, very importantly, cut to the following shot which shows where the bandit will fall before they actually do.
So not only do we see the full action, but also the full consequence, as opposed to cutting too soon and interrupting either. And it’s in the moments that show reprecussions when most of the drama lies. Without them, we aren’t being confronted with the reality of the situation, instead just presented with the glamourised version of the violence.
This all may sound obvious, but it is relevant because the majority of modern action films almost fetishise the way they shoot the protagonists. Look how often the camera is locked onto the main characters, in order to capture every flourishing move they perform. They’re almost never out of frame, and we hardly get to see the result of what they’re doing. Kurosawa on the other hand makes a point of showing the audience the effects of the characters’ heroism, and so we can gauge the enormity of their task. […]”
The Rogue comments: With apologies to MCU fans, I am in PERFECT agreement with this wonderful drag against the standard modern, big budget, flashy, exaggerated, narcissistic, shallow, hollow, and heartless action film-making. And that fellow’s so polite! I wouldn’t be. Actually, I won’t be. You have been warned.
First, small nitpick: The Matrix shouldn’t be lumped with the other action films mentioned, because the flashiness of bullet time and the camera’s focus on the protagonists’ cool moves (all at the expense of the world around them) actually have a function here, and a purpose, and a thematic resonance: in the Matrix, external reality literally doesn’t exist.
So despite superficial similarities, there’s just no relation with your vanilla superhero universe, where “gawking at the protagonist” simply reveals the true nature of the film: a glorious wanking experience (sometimes politely called “power fantasy”). And who wants consequences to mess with THAT? I don’t want consequences in my porn either, I just want fancy poses.
…Damn that’s hot.
And here’s the funny thing. When this is the language of action sequences (the sum of cinematography, direction and editing is, of course, a language), then any concern for consequences that’s afterwards inserted via plot or dialogue becomes utterly weightless. It’s a subset of “the medium is the message” phenomenon, it’s just not convincing. Nobody cares enough. Nobody wants the superheroes to stop being cool - their coolness isn’t a means to an end, it’s an end in itself, it’s THE end. So whatever they accomplish, and at whatever cost, matters little. Because when it’s all over, we’re right back where we started, unchallenged and unchanged: we just want them to be cool and badass all over again in the sequel.
Whereas in Kurosawa’s film-making, where the results and consequences of violence remain in the foreground as much as the violence itself, all the thrill and tension of the action culminates in the sheathing of the sword. Figuratively, or (in the case of Sanjuro) literally and explicitly. And it’s not an empty gesture, it’s proper catharsis. It drives home everything that preceded it, and completes the audience’s transformation.
Sanjuro was spectacularly cool throughout the film (and more badass than all the Avengers lumped together, if you ask me), but now that it’s done, we’re not in the same place we were at the beginning. Because we’ve
seen the results with our own eyes, and we’ve counted the bodies one by one, and we do NOT want him to be “cool” and “badass” all over again - that would be pointless.
We just want that sword of his to remain sheathed…
P.S. For a very different but equally brilliant diametrical opposite of today’s flashy, narcissistic, shallow, hollow, and heartless action film-making, see also: Mad Max: Fury Road.
Hello there, just wondering if there are any theories about why in HLV Sherlock put John in his place instead of a real dummy? What if Mary DID shot him? Since he already realized that he didn't know her as well as he think than why put John in danger?
OOOO! Nonny good question! I think I MAY have read something in the past but I cannot recall for the life of me where I read it. So instead I’m going to expand upon my own theories.
I believe there is actually a narrative reason that Leinster Gardens happens, and it has to do with John’s story arc in Sherlock. Yes, Sherlock could have just confronted Mary and kept John out of it. There’s no real reason John needed to be present.
But Sherlock has seen what happens to John when a lie destroys him, and I really do think Sherlock has learned from this. As we have learned from past seasons, Sherlock is very protective of John and his wellbeing, and he perceives Mary as a genuine threat to John. But where Sherlock didn’t tell John about The Fall, I think he’s more concerned about THIS big lie because there, on the surface, appears to be a lot more at stake: a child and John’s entire rest of his life. Revealing Mary, Sherlock in a way is admitting to and owning up to his own mistake of not being able to see Mary for who she is, and risks admitting to John that he is not the pedestal god that he thinks John sees him as.
Sherlock needs John to witness Mary’s deceit first hand, otherwise he chances John not believing him. Sherlock knew that Mary would not shoot or kill “dummy Sherlock”, which he quickly points out upon her entering the corridor and aiming her gun:
SHERLOCK (over phone): If I die here, my body will be found in a building with your face projected on the front of it. Even Scotland Yard could get somewhere with that.
Now, I had the same question too, why not just put John elsewhere? Thinking about it, though, I theorize that this was more the writers’ deliberate attempt at some sort of parallel or metaphor.
SHERLOCK: May I see? (Mary peers towards the shadowy figure sitting at the end of the corridor, then lowers her head and turns to Sherlock, laughing quietly.) MARY: It’s a dummy. (She takes the headset from her ear.)
John becomes a literal dummy in this moment, both in the “puppet” and “idiot” definitions of the word.
“Puppet” John is always controlled by an outside force (and not necessarily the Author God). Everything that happens to him is controlled by another’s actions: John’s kidnappings, injuries to his person, both Sherlock and Mary manipulating him to meet their goals, though Sherlock’s are usually to benefit both John and himself, whilst Mary’s are to obtain what she wants. “Nothing ever happens to me,” John says in the very first episode… Because he becomes a puppet of sorts once he becomes entwined into Sherlock’s life. As well, John is Sherlock’s partner, much like a ventriloquist has their “dummy partner”, their actions controlled by their puppetmaster (or you know, “commander”. Which Sherlock thinks himself as John’s which he lets slip in TSo3).
“Idiot” John, I suppose, could parallel Sherlock’s “practically everyone [’s an idiot]” from ASiP (meaning John has failed to observe so much that he has now become just like everyone else, and therefore not good enough for Sherlock, in his mind), but I think it’s more related to how how John is feeling at this precise moment, but more-so is a mini foreshadowing of Mary’s rather callous remark to John later on in the episode:
JOHN(lifting his left hand and gently punching the arm of the chair): Perfect(!) So that’s what you were? An assassin? (He looks towards Sherlock.) JOHN: How could I not see that? (He turns back towards Mary.) MARY: You did see that. (John’s humourless and slightly murderous smile is back on his face.) MARY(pausing for a moment): … and you married me.
The tone of voice Mary uses is rather condescending and I can only honestly interpret it as “you did see it and you married me, you fool, clearly Sherlock hasn’t taught you anything”. If anything it is representative to how Mary truly views John. John has always been a trophy husband for her, and she takes pride in being cleverer than both Sherlock and John in HLV.
Which is another reason why I think John may have his own agenda going on in the background that neither Mary nor Sherlock know about, something I’m currently expanding upon in a future meta. I think it’s foreshadowing not only a seriously BAMF!John in a future episode, but one that will surprise Mary and become her downfall.
Hope I somewhat helped a bit. I’m a bit tired, so I may have rambled nonsense, for which I apologise. If anyone has any other interesting theories / knows where to find some, by all means please reply / reblog this with them! I’m always looking to expand my masterpost :D
Your animal sketches are sO PRECIOUS AW I want to cuddle all of them!!! Do you have any tips for drawing animals better? It's one of my weak points in art and I would like to practice it more. Thanks :)
Just break them down into basic shapes! That’s what I did, following what I’ve been taught in my schooling.
First thing: Do the letters match up with your personality? It seems basic but there are a decent amount of “INFJs” I’ve come across that seem very ISFJ or even INTJ to me. Are you introverted? Are you intuitive? Are you a feeler? Are you a judger?
So we’ve established that you think the letters match up. Are you SURE?
Introverted Intuition is supposed to be your dominant function. Now check and see. Does the following criteria match?
You see interconnected patterns and without even trying, intuit the implications behind those patterns.
For example: Shae says she thinks that every interview she has could be a potential audition. This means that her life must revolve around acting in every way; everything she does could be noticed and picked up on by casting directors or agents. That explains her ever-changing behavior and why I am certain that she will have to marry some sort of average-minded, big-hearted guy; she’s so smart and deceptive that it’d take a pure-hearted man who really loves her to tolerate her. But I know she’ll never be happy. How could she be?
In centuries past, INFJs served as oracles or fortune-tellers because they were so incredibly gifted with the ability to read people and predict how their lives would turn out. The pattern to them was evident; they weren’t able to explain the pattern, per se; it’s intuitive to them. However, they could explain the result, and that’s what got them their positions.
INFJs are serious, mysterious, focused, and driven.
Next is extroverted feeling. This means that introverted intuition is like a “lens” for it. This is what differentiates INFJs from INTJs, primarily. Does the following criteria match?
You understand the emotions and feelings of others and empathize with them. You are a shoulder to cry on. You believe that individuality can be seconded for greater harmony, for a greater cause, or a greater goal.
For example: Zach has been through a lot lately. I wonder if he’s okay? Something tells me he’s not. …I knew it, it looks like he’s been doing risky things lately. I ought to help him or offer advice since he matters a lot to me.
Another example: I really don’t like socializing for this long, but everyone else in the group seems to be having a great time. If I left now, I might ruin the atmosphere. I’ll wait a bit longer and see if anyone else leaves.
INFJs are nurturers who believe in long-term success in terms of emotions and healthy-standing; in other words, when they help you, they give you advice because they believe it will help you not only now, but down the road. Their lessons are meaningful and have been thought-through and felt-through. They are saying what is best for you and your future when they help you.
INFJs are compassionate, will lend a helping-hand, understand human emotions, and see into the hearts of others.
Third is introverted thinking. This function serves the INFJ in that all of their thoughts and feelings about their lives are sorted into an internal database to categorize and sort their findings and experiences.
You have found objective truths about humans and human nature (and other topics) and have certain ways of understanding the different types of them in your mind. While you might not be able to explain it all that well, it helps you when helping others or even on individual projects, and that’s what matters.
For example: All of my family members act in the ways I’ve realized because of one factor. This factor goes along with another that I have seen before. The only explanation is that they produce the same outcome. I will have to remember this for future situations. This observation will be to my advantage in times to come.
INFJs, despite being feelers, have a strong logical side that can, at times, override their emotional side. Since this function is not dominant or auxiliary, it can really surface in times of stress or sadness or anger in the form of biting criticism, cold truths, and a belief that their observations are always correct because “there’s evidence!”
INFJs are thoughtful, intricate, mentally organized, and logical.
At the tail-end of the function stack of the INFJ is extroverted sensing. This function is not apparent in the everyday INFJ personality; it surfaces only when “triggered” (lmao) by external stimuli, and tends to be most prevalent when the INFJ is distressed.
You are attracted to aesthetics, nature, and observing the patterns of everyday life. While you are not the type to go out and engage yourself in strenuous physical activity, you have a respect for those who do, and those who put themselves “out there” without second thought.
For example: Nature is wonderful. I’d like to sit by the window with hot cocoa and watch as the snow falls down. Maybe take a few pictures. I get so cooped up within my own mind, it’s nice to see the wonders of the outside world at times.
INFJs, despite primarily thinking and feeling all inside their minds, do have an underlying desire to see the world and appreciate the present moment. It is usually suppressed by their dominant and auxiliary functions, but, when relaxed and content, this inferior function may surface and the INFJ may decide to go out and enjoy the world from time to time.
INFJs are inspired by nature, appreciate those who are immersed in the present, and wish to see what the world has to offer.
INFP vs INFJ
INFJs are focused more on other people’s emotions than their own.
INFPs are focused more on their own emotions than other people’s.
INFJs are drawn to analysis, production, and underlying beauty.
INFPs are drawn to understanding their emotions, abstract ideas, and concepts.
INFJs do not fall in love easily. They are capable of sizing someone up in an instant and deeming them worthy or unworthy of their time in a matter of seconds. In addition, on the rare occasion that they do find someone worthy, it takes effort, time, and patience to win over the heart of an INFJ. Even then, in a flash, an INFJ will cut someone out of their life if they do something the INFJ does not approve of. Prone to overthinking and even “stalker-ish” behavior when it comes to love.
INFPs do fall in love easily. They are not as quick to judge as their INFJ counterparts, and may find themselves enchanted with someone within the first few encounters. It takes time for them to act on their feelings, but they may have them for a significant amount of time after only a few interactions with someone. Prone to obsessive behavior/idealization/romanticization when it comes to love.
INFPs are drawn to fantasy things that are unrealistic, that would never exist in the actual world.
INFJs are drawn to mystical things that could exist in the world, but may be “unseen” by the majority of people.
ENFJ vs INFJ
ENFJs exhibit more self-confidence and individuality than INFJs, who, at times, doubt their purpose or who they are.
ENFJs are more sensitive and will be more open about how they are feeling.
INFJs are more quiet and withdrawn, so that no one really knows how they are feeling.
ENFJs are more focused on motivating others, inspiring others, and bringing peace to social situations.
INFJs are more focused on self-reflection, analyzing feelings of others, and will have more logical tendencies.
ENFJs have wide circles of friends.
INFJs have a VERY FEW close friends.
ENFJs encourage outward warmth and participation among themselves and others.
INFJs encourage depth of relationships and intimacy with few loved ones.
In short, ENFJs are, on the surface, closer to ESFJs, and INFJs are, on the surface, closer to INTJs or sometimes INFPs
INTJ vs INFJ
INTJs are focused on factual information, studying, and objective analysis of problems.
INFJs are focused on understanding the underlying meaning of life, understanding and observing people, and working their way through problems with their heart and head.
When analyzing people, INTJ will know exactly how that person thinks and feels and be able to explain why very quickly and with solid logical evidence, whereas the INFJ will just know and won’t be able to explain it quite so well. However, the INFJ is far more likely to act based on their observations of how people are thinking or feeling (Fe), whereas INTJs will end their actions at their analysis and keep on doing their thing (Fi).
Both INFJs and INTJs are capable of being sarcastic, but INTJ will be far more sardonic, where are the INFJ is more likely to sugarcoat harsh words.
Even when they don’t want to talk to you, INFJs will be more approachable than their INTJ counterparts, who will blatantly ignore you if they do not wish to speak with you.
INTJs will make jokes about how stupid people are to their face on a regular basis.
INFJs, even when extremely irritated, are not likely to do this (though they may make the joke within the person’s earshot when remarkably pissed off)
INFJs will spend more time considering the consequences of and observing a problem.
INTJs will spend more time solving and fixing the problem.
INFJs are more likely to store helpful information within their minds for later use.
INTJs are more likely to use that information as quickly as possible to their advantage.
PLEASE let me know if I’m missing any key information! As an ENTP, I’m not an expert on INFJs and I’d be totally open to taking suggestions on this. Thanks for reading, I hope it helps some of you!
May I just say that I’ve never seen the climax of Night Watch as being a depressive moment?
I mean, I think it’s deliberate in the presentation that the flag of Ankh-Morpork is a symbol of the ideals of the city. I can’t quote line and verse, but you see Captain Tilden, a good and decent man, saluting it daily and abandoning it when the shock of what his city has done to innocent protesters is too much for him, you see it brought out into the street by the painfully innocent and ideological Reg Shoe, you see paper flags being waved by the decent officers trying to balance their orders with common decency, “for whom ideals were so much words on paper”, and at the climax, when Reg is as close to being broken as he’s ever been, you see him with the flag in tatters, symbolizing just how broken those ideals are for him.
And then you see him get shot, and raise himself back up on that flag, on his ideals, and you see him wielding it against the government-backed thugs who shot him, and you see him fight them off and send them running like the cowards they are.
I think that the whole point of that is to point out that while ideals aren’t fantastic shields, they make damn fine weapons that can effect real and actual change in the world if you use them to support action.
I LOVE the analysis of the flag and I never ever picked up on it before; I’m gonna pay special attention to that when I reread Night Watch. I’ve also never seen that moment as bleak though; I see Reg’s death as a moment of triumph in a lot of ways. Certainly I think he sees it that way, but mostly I think because it matters that he took a stand, when he saw the cycle of misery that is this messed up world and he finally understood that he couldn’t just fix it, it but he rejected it anyway. The triumph isn’t in winning, the triumph is in standing up.