Cemetery forests would be great, if you could get them to work out ecologically. Not only would you have healthy, sustainable burials with physical markers to mourn at, you’d also inspire emotional investment in conservation and promote old-growth forests. No one wants to chop down great-great-great-grandpa Karkat the oak tree for lumber.
I think that the significance of this shot, showing Kakyoin waking up, is both him realizing that he just technically had a sleepover (likely his first) at a friend’s house, and realizing that he has people that care about his general well being. He’s in a nicely prepared room, with what appears to be a cup pitcher of water and a note (?) behind him.
His forehead is carefully bandaged, and his earrings are neatly put away as well.
I’m sure after months of Dio controlling and invading his thoughts, it’s a nice respite for him to just be able to lie in silence and contemplate the events of the previous day.
It’s a really subtle addition, but I’m really glad DavidPro decided to put something like this in, because you can only really appreciate it after learning Kakyoin’s backstory.
I'd like to ask, how do you know when fight/smut scenes are necessary? Or how to make them effective & not simply as fanservice or just for word count? Usually, I find myself skimming through fight scenes as a reader, bored. As a writer, I'm inclined to just 'fade to black' and imply stuff at the next chapters. I'm not really a fight/smut-scene writer, even though my characters know & need to fight. Thanks for keeping this blog. :D
A good fight scene (and a good smut scene for that matter) always works in the service of the narrative. It works toward the cohesive big picture.
From an entertainment standpoint, violence is boring.
You need your audience invested in the characters participating in the violence, in the actions and events leading up to the fight, in the aftermath and how this will effect the character’s overall goals.
In a narrative context, if you’re bored during a fight scene or a sex scene it’s because the build up to that moment failed. The scene itself may also have failed. However, your foundation is what makes your story sing.
Think of a story like building blocks. You’re playing Jenga with your reader on a homemade house, they’re slowly pulling out the pieces and you’re betting you built your blocks well enough to withstand scrutiny. You’ve got to keep them interested long enough to get to the end before the whole thing comes tumbling down.
A fight sequence which works in concert with it’s narrative is enjoyable, doesn’t overstay it’s welcome, and ultimately works to build up the story it’s telling. Fighting isn’t fighting, you see. Combat is a form of problem solving, the fight itself is an expression of the character’s individuality. Everything we’ve been learning about them, their goals, and their behaviors are being put in a pressure cooker and dialed up.
You should be learning about the character as the fight progresses, the fight working on multiple levels in concert with its narrative to get the story where it needs to go. Often, a first fight is like an establishing shot in film. You get a feel for who this character is when under pressure, who they are. Peril can be a great way to get the audience invested, but its up to the author to prove why they should.
Poor fight sequences don’t tell you anything. They’re there to establish the character as capable of fighting but don’t even do that because their concept of combat is generic.
The combatants aren’t individuals expressing themselves, the fight isn’t proving anything except fighting, it doesn’t have meaning except for its attempts to prove the narrative’s poor concept of badassery. This often happens with no regard for the setting’s rules, the aftermath consequences, what the character’s actions will effect in the long run.
It doesn’t mean anything and, while violence is shocking and terrifying in real life, in fiction violence has to mean more than just an exchange of blows.
How many times have you read a book where several mooks show up to get their ass kicked by the protagonist? They limp off at the end and while they’re often in a perfect position to be seen again due to their connections, we never do.
In even just a moderately competent narrative, those same mooks are characters. We’ll see them again in bit roles. They’ll play a role, either to help or hurt later as an aftermath consequence of the protagonist’s earlier actions. These are callback characters we can use to remind the audience of what happened previously in the narrative, and offer up some catharsis.
In a really well written scene, these mooks serve an important purpose when it comes to establishing the protagonist’s character in a quick snapshot. Like the moderately competent character, they come back later to the aid or the detriment of the protagonist. The mooks’ response actions are a direct result of their encounter with the character, often acting as an inciting incident. The protagonist suffers direct consequences as a result of their actions, whether its injury, loss, or the attention of the villain which causes them to lose something. In these fight scenes, you can see the story’s trajectory because it acts as another way to get to know the hero, the secondary characters, the tertiary characters, and whoever else is participating. It’s working on five different levels.
What you often see in a good fight sequence, whether it’s in a written medium or film, is the culmination of a great deal of hard work on the part of the author. A smut sequence is a reward, it’s a way to pay off on the reader’s investment in the relationship between these two characters and the narrative’s investment in them. It doesn’t matter if that’s hardcore sex, or a Victorian hand touch, or a knockout blow to the jaw, the end result is the same. It’s entertaining, satisfying, and even cathartic.
A poor sex scene is just dolls bumping bits. A poor fight scene is just dolls trading blows. Nothing occurs, nothing happens, there’s none of the underlying satisfaction or catharsis in the outcome. You don’t have any investment, no consequences, it overstays its welcome and tells you nothing about the characters.
You’ve no reason to care, so you don’t.
As a reader, you don’t owe a writer attention when reading their work. They’ve got to earn it. If they aren’t, then it may be that the story isn’t for you and that’s okay. Take into account your tastes,
It takes practice to choreograph a fun fight scene. Writing sex and violence is mostly about learning to find your limits (i.e. what you’re comfortable with writing), and overcoming embarrassment. Determine the difference between need and want.
Are you avoiding writing these scenes because you’re scared of being bad at them or because they just don’t interest you?
These are two very different issues, and it’s easy to hide from the first behind the second. Be honest with yourself. If it is fear, then don’t give into it. The easy solution if you’re afraid of being bad at something is to practice. Start looking critically at the media you consume, when you start to get bored during a fight scene or a sex scene, when you want to skip ahead, ask yourself, “why?”. Check out the sequences and stories where this doesn’t happen, and try to figure out the differences between the two.
When it comes to the mechanics of both violence and sex, the more you learn the better off you’ll be at writing it. The more you practice writing violence/sex/romance then the better you’ll be. Like with everything, it’ll probably be pretty terrible in the beginning but the more you practice, the better you get. Writing itself is a skill, but its also a lot of sub-skills built in underneath the surface. Being good at dialogue doesn’t mean you’ll be good at action, having a knack for great characterization doesn’t mean you’ll be good at writing setting description. Putting together great characters doesn’t mean you’ll automatically be good at worldbuilding.
Don’t be too hard on yourself.
All it takes to figure out whether or not the time to fight is right is by listening to your gut.
Remember, the best scenes are based in narrative cohesion and emotional investment. They’re a pay off in and of themselves for your audience, dessert after dinner. They aren’t the meat and potatoes. If you set out to just write a fight scene or write a smut scene then it’ll get gratuitous. Then the focus is on the fight or the sex itself, hangs entirely on their shoulders, and you’ve just upped the ante for how entertaining you need to be.
It’s not “how do I write a fight scene”, it’s “how did my characters get to this point and why are they fighting”. If you start from a character place, it gets easier. The same is true with romance. “How do my characters participate in a romance (sex or not)”.
Make it about the individuals, that’s when it really gets fun.
And, if you get too stuck, try writing fight scenes with characters who don’t know much about how to fight. Sometimes, it’s easier to get into it when you begin at the beginning. There’s a lot less pressure convincing an audience with a character who knows nothing than one at the top of their field.
There’s a lot less stress about “is this right?” when you’re trying to get a feel for the flow if you’re dealing with a character who doesn’t know jack shit. Fight scenes with characters who know nothing can also be really, really, really fun. They’re wild, improvisational frenzies where all you have is the character sorting through their alternative, non-fighting skills trying to figure out how to survive.
Believe it or not, this will help you because you don’t get to cheat with the idea that your character already knows what they’re doing when you don’t. It’ll help you tap into the character, seeing scenarios from their perspectives, and writing to that instead of “generic fight scene”. When you’re unsure, characters who know nothing about the subject matter they’re engaging in but still have to engage are great. They teach you how to write from the standpoint and perspective of the individual. You need those skills just as much when writing characters who are professionals or at the top of their field.
If you don’t think you can write an interesting fight sequence with a neophyte, then that might be a part of the problem. A character doesn’t need to be good at something to be entertaining. A smut sequence where everyone’s fumbling, knocking into each other, embarrassed, stuck in their clothing, cheesy, corny, and laughing can be just as fun (if not more so and more honest) than the ones that generally get envisioned.
For me, good is entertaining and the entertainment is based in humanity but you need to define “good” for yourself in your own writing. Be honest with yourself about your fears and you’ll find a way to bridge yourself to the kind of writing you want to be doing.
Freeing yourself of your own internalized preconceived notions will help a lot, and produce stories that are way more fun.
sun in the 3rd house: loved by siblings, often the oldest, the dominant sibling venus in the 3rd house: cherished, harmonic relationship with siblings moon in the 3rd house: close bond with sister, tranquil relationship due to deep emotional investment mercury in the 3rd house: the importance of retaining communication and openness is emphasised, young spirited siblings mars in the 3rd house: protective over siblings, can be intimidating jupiter in the 3rd house: teacher of the siblings, has many siblings or full, generous relationships saturn in the 3rd house: strained relationship with siblings, can weather any storm, can have a large age gap uranus in the 3rd house: unusual relationship with siblings, may have many half siblings or profound distance, age gaps etc; neptune in the 3rd house: siblings can be ill, addicted, or dreamers, but also create spiritual peace, there can be a distance or overgenerous bond pluto in the 3rd house: intense bond with siblings, there can be a ‘dark’ sibling
i'm so so happy for them, they're so happy with each other and now they're moving into their third home together, "WE" everywhere, and it's so domestic and i'm honestly emotional. this is just another thing that makes me so certain that they are so in love and have been for years and will be for years to come. it just makes sense. it all makes so much sense and it's so beautiful. their relationship is beautiful.
the best thing is seeing so many people just join in their happiness and excitement. say what you will about fandom around real people and emotional investment in their lives but i’m not sure i’ve ever been a part of something purer than thousands of people celebrating the love and warmth and domestic stability between these two guys who mean the world to each other. i’m so emotional about it.
This is just pure fluff tbh. But Part 2 will much more explicit (and will be posted within the next two or three days at most). Enjoy!
You weren’t sure exactly how long you’d been sitting on the window seat with your knees pulled into your chest, the cool wall leaching all the warmth from your spine through the thick material of your hoodie. All day you’d been lounging in the comfort of your apartment, basking in the calming serenity of the pouring rain pattering against the wide window. The view of the Seoul skyline piercing the gray swirling clouds above was beautiful in the most hazy and sleepy way, almost as if the entirety of South Korea had just woken up from a Saturday-afternoon nap and hadn’t yet wiped the sleep from its eyes.
Saturdays were one of your favorite days, mainly because you didn’t have to worry about your usual responsibilities of college and work. You preferred to spend most of your Saturdays at home to recharge before having to finish up any assignments you’d been procrastinating over on Sunday, and you often found yourself devoting Saturdays to pampering yourself. Eating whatever you wanted, messily slathering on a face mask, taking a long steaming bath to relax your tense muscles, the works. At that point in the day, you’d already cooked yourself chocolate chip pancakes (You woke up around 11:30am, but who’s to say pancakes have to be reserved solely for breakfast time?) while your favorite moisturizing mask was caked on your skin. You stuffed the fluffy, sweet deliciousness in your face ravenously as you binge-watched YouTube videos, the only worry you had being that you may not have enough syrup.
Now you sat, four hours later, curled up by the window, still sucked into the void that is YouTube and enjoying the melancholy rainfall that was baptizing the streets of Seoul.
As much as you loved Saturdays, you couldn’t help but feel sad that you’d spent so many without your boyfriend around to participate in the self-care. The two of you had made it a tradition to spend Saturdays together and bond over cartoons and unhealthy snacks. Even though he basically lived with you when he wasn’t forced to stay at the dorms or travel for a tour, Jungkook was insistent on coming over and talking about each of your weeks through mouthfuls of pizza.
adventure time finale better destroy me. better fuck me up for life and ruin my soul. i dont wanna walk away from this 8 year emotional investment like “ok cool” like w/ homestuck. im tryn to ugly cry until i dont know who i am any more. im lookin for that flcl ending. that moral orel ending. that mgs3 ending. gimme an ending that makes me need to go lay down on the lawn and stare at the stars until the sun rises. gimme an ending that i’ll abruptly remember ten years from now and dissociate mid-sentence. dont fuck this up cn. i want to walk away from this ending feeling like i just got actually murdered
Other than synastry compatibility based off aspects, and of course planets and asteroids, astrology has much more depth in compatibility. In a synastry chart overlay, one person’s natal birth chart is layered on top of another person’s chart to show how your signs, planets, and houses work together. Especially where their planets are in your chart. It’s this that explains why rising signs are so important, you can still use this if you don’t know their time, but you’ll need to know at least one person’s time. You of course will have more understanding with both rising signs. The point is to see where their/your planet falls in your/their chart and the specific house, to see the influence it has on your relationship and bond. Remember to take both combinations of yours and theirs together. If you don’t know their rising and therefore their houses, look at their planets in your houses for now. These are the characteristic of their/your moon, in your/their house (it’s where you guys are emotional invested):
Your moon in their First
Both of you become blended together like the finest paints on a canvas, as you guys have a intuitive bond. Both of you emotionally click really well and often feel “bonded” because you both can feel out each other’s emotions. It’s so strong that your moods can affect each other, it almost acts likes a Pisces moon (receptiveness). Due to these similarities and that connection, you guys may often want to spend time together because of the familiarities present between you two. The house person feels very at home with the moon person, and often finds emotional security together. Home life and daily life plays well for you two. This is usually common overlay amongst married couples. Not only will their be a nice bond, but if the moon person is the man, they’ll be a strong connection for him.
Your moon in their Second
Having this overlay indicates a deep feeling of emotional security and safety for the house person. The house person will still be helpful towards the moon person, but it’s really the moon person who wants to provide security. Even with financial security. Both of you share many values and interest, but can be jealous and possessive about each other. You can build the house person’s self-esteem and they may need you so much or love you so, they’ll become protective. Ambition grows here as does sensuality.
Your moon in their Third
This kind of acts like if your mercury signs were to conjunct; you both share same ideals and understand what the other is thinking. You guys will have an array of conversations; you may tend to converse about things associating with the sign of the moon and the sign ruling their 3rd. The mental stimulation is strong here, but make sure you have overlays, aspects, or/and planet compatibly that helps build romantic dynamic. Nonetheless, the house person will be able to talk about their emotions with them and even get along with the people in the moon person’s life. The moon person knows how to use their words to coax the emotions of the house person. The moon person may also become emotional vulnerable, as they’ll be sensitive as to what the house person can say or even do.
Your moon in their Fourth
Just like the sun with this overlay, you guys feel at home with each other. Both of you are supportive and nurturing towards each other. There may be a chance of connecting to the sense that you guys had the same type of childhood, or one that can make you guys relate to each other. This overlay is really good for marriages, and amazing in friendships. The moon person knows how to make the house person feel emotionally safe, therefore it builds trust. While the house person feels so close, they can even imagine a future with kids together. It makes a strong bond that usually doesn’t want to separate; it feels like home and reminds each other about family.
Your moon in their Fifth
This is a very romantic partnership when other aspects allow, as this overlay allows sparks of romance and playfulness. Everything that the fifth house represents is enjoyed greatly between you two; romance, dating, creativity, self-expression, and even children. You guys can actually want children together. It’s an extremely colorful and vibrant overlay, because it’s very supportive when it comes to expressing yourself creatively but intimate even one on one. This is another indicator of long-lasting romance and emotional attachment. The house person’s want for pleasure is stimulated and often depends on the moon person for emotional support, they love being at the center of their attention. While the moon person can be protective of the house person, only wanting to be the one to please the house person. To make them happy and to be the one by their side, not to watch another by the house person.
Your moon in their Sixth
This acts a lot like the overlay of their sun being in the sixth, of course with a lot more emotional depth. The problem with this house is there isn’t much focus on romance, but just the daily chores, health, and work routine. Love can still blossom here but it’s almost acts like a late bloomer at times. If you have a weak natal sixth house with no planets and/or a iffy sign to have it in, your partner’s planets can really help you. It’s really supportive and gets you on your feet and that emotional help can create a bond of gratefulness. If it helps, it adds a sense of maturity to a relationship, which can help trine relationships between fire signs since the passion and excitement can be blinding.
Your moon in their Seventh
This is another overlay common in marriages, as the house person sees you as their ideal mate and loves how you carry out your emotions. It’s a very intuitive bond between you guys and since it’s so strong, you guys can have emotional ups and downs. A long term relationship can happen but if it goes wrong, it can get nasty. This is also good for business partnerships and creating work together. After all partnership isn’t necessarily always a romantic aspect. Both of you can be sensitive towards each other, but the beautiful thing is you both feel attractive around each other. It’s a very emotionally tuned match where you guys always know what the other feels, having experienced this I feel like the house person can have the ability to do this more.
Your moon in their Eighth
The eighth house is about extremes and when the moon is here, well it’s nothing but extreme, and this is not to be taken lightly. The house person can feel suffocated or flattered. The moon person begins acting like a Scorpio moon; they have strong desires for the house person, they want to dig deeper, control, become jealous, and become intensely attached. The moon person deeply and intensely, is attracted and magnetized to the house person. In fact when things get shaky, the displays of their relationship can be dramatic and scenic. It will always be a bond of tight-knitted lovers or toxic enemies. It’s blinding, challenging, but sweetly and painfully intoxicating. If handled well, it can work but you have to be careful with this overlay. Just being friends might not even work, you guys are hauntingly attracted to each other.
Your moon in their Ninth
Both of you have the same ideas, strengths, and beliefs. Since the ninth house is home of Jupiter, optimism, happiness, and expansion blossoms between you guys. This is another indication of someone who can be your traveling partner but at the same time you need other aspects for something more romantic and sizzling to blossom. The beautiful and unbeatable thing? Your values, interest, and goals will compliment each other in the long run. Both of you feel good together and experience life together with everything it offers, the moon person is very supportive and the house person helps the moon person expand their horizons. Both of you will have fun together in life and create some sort of intellectual rapport as well.
Your moon in their Tenth
Admiration blossoms here, often the moon person can idealize the house person a lot, as they often feel proud when they’re seen in public. There’s a lot of mutual respect here and at some point, you guys can even work together. This is more prominent if the moon person is the girl, as the moon person is extremely supportive and helps the moon person with their career. Of course this is just as sweet when the moon person is the guy. The problem with this is that their relationship, including their downfalls and crisis, can become very public. The moon person may also feel like their image is protected by the house person. It makes you two very supportive of each other.
Your moon in their Eleventh
This is actually a very nice place for the moon to be in for synastry. You guys view each other as equals and hit it off right away; you guys instantly like each other and merge groups together. Both of you are very supportive of each other and become great friends; it’s like dating your best friend. Both of you are accepting to each other and love spending time together, blossoming a sense of familiarity. You guys even encourage each other to reach goals and grow socially. This can actually create a long-term relationship despite this being the house of friendship.
Your moon in their Twelfth
The intensity of emotional connection is strong here, as you guys always know what the other is feeling. Since it’s so eerily strong and potent, the house person can feel uncomfortable and fearful they’ll get hurt. Since the 12th house ties with karma, it can bring out a “soulmate” or an “enemy” feeling. One of them could feel the need to confine in each other or save each other, but the saving part comes more strongly for the moon person. The moon person can deeply hurt the house person, or they can live together like if they were in a fairytale. There’s a deep connection residing here.
I really think the events in Going Home held some of the elements of what we should expect in the finale.
If I have to guess, the happy ending we-don’t-always-think-it-will-be will still include Emma separating from her parents. The arguments of their goodbye speech there still hold and the show has invested as little as possible in Emma’s relationship with her parents. They haven’t encouraged our emotional investment in it beyond the absolutely necessary. They have focused our attention on Emma’s family with Henry and Regina and the focus during the goodbye scene in Going Home was undoubtedly on Emma and Regina.
This wasn’t a happy ending because Emma wouldn’t even remember her parents, Storybrooke would disappear and Regina wasn’t with them. If they manage to completely break the original curse in the finale, then everyone - including Regina and maybe even Emma would go back to the Enchanted Forest. They would go back to a fairy tale world, because they aren’t… real. If only there was a precedent for what to do for someone who isn’t real to become it.
Regina has separated from the Evil Queen, she has shown to be unselfish at times… but maybe she needs to be brave and also true to herself? Maybe she needs to make a confession about how she really feels to become real and stay in our world? Maybe so does Emma?
…maybe the Final Battle is the one against the hardest monster of them all… our own fear.
okay so this post is wrong but what the heck it’s a Tumblr post, right, it’s mostly a joke, only it’s so perfectly echoing an idea I’ve seen elsewhere too, from actual paid critics and academic critiques, that Hugo “wasn’t writing for emotional teenagers”, that he’d be horrified by fandom, that he was too High and Erudite for the likes of screaming theater kids and emotional teenagers
Victor Hugo knew what fandom was. And he absolutely LOVED it.