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@opalserraphiim
reblog if you are veilguard positive!
i've found my little zone in fandom that i'm comfortable in, but it occurs to me that others are still struggling to find the people who actually enjoy this game! and who talk about it!
so please do reply or reblog if you're veilguard positive and talk about it uwu
the veilguard ( ˘ ³˘)♥
reinstalling veilguard to see my boy again
I'm weak for him in a disgusting way
real big mood
ngl the latest patches really leaning into the "the wol could be a monster, actually. If they'd want to be. They kinda are already." angle feels very good considering how angry some ppl have been when I as much as voiced that thought before. lmao.
like i really want them to start exploring the "what are you?" that keeps getting asked and how it's always used with horror
20 Ways Characters Show Vulnerability Without Admitting It
Showing vulnerability is risky: it's weakness, it's fear, it's revealing one's flaws.
Showing vulnerability is a core part of driving the plot or character development, whether they're building relationships or force them to make choices they wouldn't normally do.
Exposing your character's doubts and insecurities shows the reader that your character is real and has depth.
Here are 20 ways you can create tension by showing vulnerability in your characters through actions:
Letting someone see them exhausted instead of pretending they’re fine.
Admitting they don’t know what they’re doing and not joking about it.
Whispering secrets to objects instead of people.
Holding back tears, not because they’re strong, but because they’re scared.
Accepting help and apologizing for it at the same time.
Taking a deep breath before speaking, as if bracing for impact.
Sitting closer than necessary, then freezing when noticed.
Saying “you don’t have to” when they desperately want them to stay.
Letting their voice crack.
Sharing something small first, testing the ground. Alternatively, sharing small joys to test if it's safe to share bigger ones.
Watching the other person’s reaction instead of finishing the sentence.
Fidgeting with sleeves, rings, or scars they usually hide.
Letting silence stretch instead of filling it with humour.
Admitting they were hurt without assigning blame.
Avoiding eye contact while speaking about something personal.
Trusting someone with a truth they don’t fully understand yet.
Hesitating before touching, afraid of rejection. Their hands hang in the air for a moment as if waiting for permission.
Saying “I don’t want to be alone” instead of “I’m fine.”
Letting someone touch them in a way they usually resist.
Smiling through pain, hoping no one notices the cracks.
` * 𝐧𝐨𝐧-𝐯𝐞𝐫𝐛𝐚𝐥 𝐚𝐜𝐭𝐢𝐨𝐧𝐬 : 𝘴𝘦𝘯𝘥 𝘢 𝘱𝘳𝘰𝘮𝘱𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘭𝘪𝘴𝘵 𝘣𝘦𝘭𝘰𝘸 𝘵𝘰 𝘴𝘦𝘦 𝘩𝘰𝘸 𝘮𝘺 𝘮𝘶𝘴𝘦 𝘳𝘦𝘢𝘤𝘵𝘴. 𝘯𝘰 𝘸𝘰𝘳𝘥𝘴 𝘯𝘦𝘦𝘥𝘦𝘥, 𝘫𝘶𝘴𝘵 𝘵𝘰𝘶𝘤𝘩. 𝘴𝘦𝘯𝘥 (+ 𝘳𝘦𝘷𝘦𝘳𝘴𝘦) 𝘧𝘰𝘳 𝘮𝘺 𝘮𝘶𝘴𝘦 𝘵𝘰 𝘥𝘰 𝘵𝘩𝘦 𝘤𝘩𝘰𝘴𝘦𝘯 𝘢𝘤𝘵𝘪𝘰𝘯 𝘵𝘰𝘸𝘢𝘳𝘥𝘴 𝘺𝘰𝘶𝘳 𝘮𝘶𝘴𝘦.
𝐠𝐮𝐢𝐥𝐭 -
01. avoids eye contact or looking at the floor. 02. wringing hands together in silence. 03. fidgeting with the hem of their shirt, unable to stay still. 04. looking at receiver in long silence before looking away. 05. silently leaves a folded note on the table in front of the other. 06. touches the others arm but pulls back out of guilt.
𝐚𝐧𝐠𝐞𝐫 -
01. slams fist onto a table without saying a word. 02. exhaling sharply through their nose and clenching their jaw. 03. throws an object across the room. 04. crossing their arms tightly, digging fingers into their own skin. 05. pacing the room with heavy steps. 06. glares at the other with a clenched fist.
𝐥𝐨𝐯𝐞 -
01. gently pushing stray hair behind the others ear. 02. resting their forehead against the others. 03. cups the others face with both hands. 04. pressing a kiss to the others forehead in silence. 05. lingering touches against the others face. 06. wraps their arms around the other from behind and rests their head on the others shoulder.
𝐬𝐚𝐝𝐧𝐞𝐬𝐬 -
01. wiping their eyes before someone can notice. 02. pressing their face into a pillow to muffle sobs. 03. pulls the other into a desperate hug and wont let go. 04. silently reaching for the others hand, needing comfort. 05. walks into the room with red-rimmed eyes and no words.
𝐡𝐚𝐩𝐩𝐢𝐧𝐞𝐬𝐬 -
01. spins the other around without warning in a hug. 02. links arms with the other and tugs them along happily. 03. provides the other with a handmade gift. 04. tackles the other in a sudden and joyful hug. 05. kisses the others cheek unexpectedly and grins.
𝐟𝐞𝐚𝐫 -
01. backing away slowly and looking for exits. 02. hiding behind the other and peeking around. 03. flinches at sudden movement from the other. 04. presses their back against the wall with eyes darting around the room. 05. jumps at a noise and instinctively grabs the others hand.
𝐜𝐚𝐫𝐢𝐧𝐠
01. tucks a blanket gently around the other person's shoulders. 02. applies a bandage with slow and deliberate care. 03. brings them food and water and watches to ensure they eat. 04. runs fingers through their hair in efforts to soothe. 05. rubs soothing circles on the others back while they cry. 06. stays silently by the others side in support without saying a word.
𝐡𝐚𝐫𝐦𝐢𝐧𝐠
01. raises a hand but hesitates. 02. grips the others arm a bit too tightly. 03. pushes the other away with more force than necessary. 04. turns their back on the other to begin walking away without a word. 05. rips a shared photo in half without a word. 06. steps in closely with cold and narrowed eyes.
Uncommon Words / Phrases to be Inspired by
Absquatulate: to leave without saying goodbye
Cassandra Complex: a psychological penomenon in which someone's accurate prediction of a crisis is ignored or dismissed
Cicatrize: to find healing by the process of forming scars
Even a Worm will turn: the belief that even the most docile creature will retaliate if pushed too far
Fernweh: the ache for distant places; the urge to leave everything familiar behind
Hamartia: a fatal flaw leading to the downfall of a tragic hero
Hiraeth: homesickness for a home you can never return to
Ichor: a fluid that flows like blood in the veins of gods
Jester's Privilege: the ability and right of a jester to mock his king without fear of punishment, for nothing he says seems to matter
Lachesism: longing for the clarity that comes with living through a disaster
Lotus-Eater: a person who lives their life in a constant state of dream and fantasy
Novalunosis: the state of relaxation and wonder experienced while gazing up at the stars
Pyrrhic Victory: a victory with such devastating consequence and collateral that is becomes a 'hollow victory'
Swan Song: a final act or effort given just before death
Wanderlust: a strong desire to wander and explore the world free from any obligation
Weltschmerz: the pain that comes with the realisation that the material world will never satisfy the demands of the soul
Whistle in the Dark: to make a show of bravery despite one's fear
Yhprum's Law: 'everything that can go right will go right'
[Prompt Calender: January 9th, National Word Nerd Day]
new poll based on a semi-viral twitter post going around;
if you were in a committed, sexually active relationship, would you be comfortable with your partner watching p*rnography? (not including reading fictional erotica)
Comfortable
Not Comfortable
Maelstrom runs pedo rings and most of them have "serial rapist" listed under crimes if you scan them. So you are obsessing on a guy who at best is cool with being friends with pedo rapist and at worst is a pedo rapist.
i don't know what you were trying to accomplish here but if its to make me feel bad or guilty for enjoying a fictional character in a fictional setting with like 10 minutes of screen time and no real background information or lore well
you failed 🤷♂️
GOD I know you didn't ask for an academic essay and anon won't read it, so I'm just using your post to be a self-indulgent academic, sorry Sev.
Anon, you're the weird one and everyone that thinks like you do are the weird ones.
Fiction plays an important role in our psychosocial development, both as children and adults. It acts as a psychological safety net allowing us to explore other traits, characteristics, acts, actions, or any other number of themes including morality that we can't explore in our real lives. And when you have characters with such little canon development, the sandbox opens up even more, allowing for even more exploration.
To assume morality based on a character or story someone enjoys is not only stupid, but it's also stunting your own psychological and emotional growth. By shying away from exploring things you enjoy that the status quo, in group, or social justice clique du jour would criticize, you're losing the opportunity for some incredibly rich and important personal development.
These next few sources and quotes refer to reading, but it's the focus on fiction and how we use fictional stories that is most important.
Adolescence is a significant period of identity development and social exploration, and narrative fiction can help adolescent readers to exp
Indeed, research has demonstrated that when relating to a character or a story, readers may recognise or realise something new about themselves and change their self-concept, beliefs and/or behaviours, such as changing their attitude towards characters whose identity and perspective differ from theirs (Kaufman & Libby, 2012). Narrative fiction also allows readers to understand and connect to different characters’ experiences and perspectives, allowing them to ‘fictionally’ experience situations and feelings they may never have experienced themselves.
A novel changed the life of Francesca Lo Basso—and there’s scientific evidence that she’s not alone.
When readers read fiction, they know they are encountering human-constructed characters, settings, and situations. This necessary suspension of disbelief—of having to entertain the possibility of other realities—means readers of fiction aren’t merely learning to understand the world as it is, but, also, how to imagine a different one. And it is this act of imagining that makes alternative futures possible—a future without endless, violent conflict, for example.
Most human beings above the age of three know how to differentiate between fiction and reality. And because they know that, they are able to suspend their disbelief and explore the thoughts and feelings they have when they think about characters like Dum Dum and groups like Maelstrom. (In this sense, I would recommend anon that you see a neuropsychologist to ensure your psychological development is on par with however old you are and not stuck at that of a 2-year-old).
How do participating in a work of fiction and imagining a fictional world intertwine with the reader’s life? I develop an account that explo
A quasi-emotion contains all the elements of an emotion, except the cognitive element and the motivational element. Emotions generated by real-life situations are based on a belief that something is the case, which prompts not only a quasi-emotion but also certain motivations. Emotions generated by engagement with a work of fiction, on the other hand, are based on make-believe that something is the case, which prompts a quasi-emotion. Hence, the quasi-emotions generated by make-believe in fiction reading do not stimulate us to action, the feelings and sensations may have a different intensity, and their duration can be different.
Walton in his work Mimesis of Make Believe identified the fundamental difference in how we process the feelings generated by fiction and how they do not stimulate us to action.
William Golding, in the above linked article, goes further and discusses how we use those emotions and the experiential memories associated with those strong emotions, for personal development. We do not read stories about terrible people doing terrible things and go on to do terrible things ourselves. That is such a profoundly, absurdly, incomprehensibly simplified idea about human behavior that makes anyone who has ever read even a low quality think piece about psychology fucking laugh.
When a reader empathizes with a fictional other, she feels for the fictional other from the inside. She enters the fictional story and the fictional world – up to a point. Ricoeur says that ‘reading itself already is a way of living in the fictitious universe of the work; in this sense we can already say that stories are told but also lived in the imaginary mode’. What exactly does this ‘way of living’ in the imaginary mode entail? Some of the limitations the reader encounters while imagining the fictional other from within are straightforward. First of all, the reader cannot act in the fictional world (although in cliff-hanger scenes, for instance, the reader might imitate the action of the fictional other by grabbing the table or clenching her fist). Second, and following from this, the reader cannot suffer any real-life consequences from what happens in the fictional world. The climber in the story may fall to his death; although we suffered inside him until he died, we continue to live. In spite of this divergence, some things happen in parallel during the reading process: the fictional climber is released from his life, and we are also released from the fictional climber’s life. The other-narrative of the fictional climber comes to an end simultaneously with our self-in-other-narrative. If the story continues after this, we see the deceased climber from the outside.
With this, I actually argue that people who can not only enjoy but continue to explore, create, and transform "evil" characters or groups has an immense amount of and skill for empathy. To like a character like Dum Dum isn't to condone what he's done, it's to see the inner goodness. Which is actually confirmed by a study! (I am so glad I dropped out of college because I do not want to put all of these links in APA style citations LMAO).
How do children make sense of antisocial acts committed by evil-doers? We addressed this question in three studies with 434 children (4-12 y
More specifically, across the ages studied participants more often reported that villains were inwardly good, than that heroes were inwardly bad.
In conclusion
Anon
Has a poor ability to empathize
Has poor sense of self identity
Struggles to interrogate their own biases and flawed thought processes
Probably hasn't read enough fiction
May be less than two years old
All of the above
writing a canon divergent fix-it fic while also shaking my head to show that i actually really like the canon's tragic narrative and am not trying to say i think it would be better if canon was like this
ASSASSIN’S CREED SYNDICATE 01/? (for anon) “I’m no criminal. I just do as I please.”
inside
