Detective, please, you have to save me,,,, you have to do it while monologuing about the human condition,,, there HAS to be electric guitar while you do it.......
Mr. Rogers had an intentional manner of speaking to children, which his writers called âFreddishâ. There were nine steps for translating into Freddish:Â
âState the idea you wish to express as clearly as possible, and in terms preschoolers can understand.â Example: It is dangerous to play in the street. ââââââ
âRephrase in a positive manner,â as in It is good to play where it is safe.
âRephrase the idea, bearing in mind that preschoolers cannot yet make subtle distinctions and need to be redirected to authorities they trust.â As in, âAsk your parents where it is safe to play.â
âRephrase your idea to eliminate all elements that could be considered prescriptive, directive, or instructive.â In the example, thatâd mean getting rid of âaskâ: Your parents will tell you where it is safe to play.
âRephrase any element that suggests certainty.â Thatâd be âwillâ: Your parents can tell you where it is safe to play.
âRephrase your idea to eliminate any element that may not apply to all children.â Not all children know their parents, so: Your favorite grown-ups can tell you where it is safe to play.
âAdd a simple motivational idea that gives preschoolers a reason to follow your advice.â Perhaps: Your favorite grown-ups can tell you where it is safe to play. It is good to listen to them.
âRephrase your new statement, repeating the first step.â âGoodâ represents a value judgment, so: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them.
âRephrase your idea a ďŹnal time, relating it to some phase of development a preschooler can understand.â Maybe: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them, and listening is an important part of growing.
Mr. Rogers Had a Simple Set of Rules for Talking to Children - The Atlantic
Rogers brought this level of care and attention not just to granular details and phrasings, but the bigger messages his show would send. Hedda Sharapan, one of the staff members at Fred Rogersâs production company, Family Communications, Inc., recalls Rogers once halted taping of a show when a cast member told the puppet Henrietta Pussycat not to cry; he interrupted shooting to make it clear that his show would never suggest to children that they not cry.
In working on the show, Rogers interacted extensively with academic researchers. Daniel R. Anderson, a psychologist formerly at the University of Massachusetts who worked as an advisor for the show, remembered a speaking trip to Germany at which some members of an academic audience raised questions about Rogersâs direct approach on television. They were concerned that it could lead to false expectations from children of personal support from a televised figure. Anderson was impressed with the depth of Rogersâs reaction, and with the fact that he went back to production carefully screening scripts for any hint of language that could confuse children in that way.
In fact, Freddish and Rogersâs philosophy of child development is actually derived from some of the leading 20th-century scholars of the subject. In the 1950s, Rogers, already well known for a previous childrenâs TV program, was pursuing a graduate degree at The Pittsburgh Theological Seminary when a teacher there recommended he also study under the child-development expert Margaret McFarland at the University of Pittsburgh. There he was exposed to the theories of legendary faculty, including McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton. Rogers learned the highest standards in this emerging academic field, and he applied them to his program for almost half a century.
This is one of the reasons Rogers was so particular about the writing on his show. âI spent hours talking with Fred and taking notes,â says Greenwald, âthen hours talking with Margaret McFarland before I went off and wrote the scripts. Then Fred made them better.â As simple as Mister Rogersâ Neighborhood looked and sounded, every detail in it was the product of a tremendously careful, academically-informed process.
hyuse and chika should stay stapled together in the away mission. they become the most interesting versions of themselves when they're interacting with each other and they leave echoes on each other in a way that doesn't really happen with other characters.
like. so much of chika's depth and nuance was brought to the surface because of hyuse. there was inklings of it. in reiji's conversation with usami post one of the early matches about how chika would volunteer for the dangerous parts and was happy to be used as bait and what-not. and how osamu and yuma wanted to let her get into the habit of valuing herself and that's why they treat her so carefully and preciously...and like the sentiment is there and in the right place but it's almost like they overcorrected. osamu especially can't escape from his bias that chika is someone that he needs to protect and while yuma was the first to recognize that chika should be a combatant so she could fight, he also has his bias that she is a friend. a friend he wants to help and recognises, but ultimately a friend he wants to support.
and chika doesn't need support. like obviously she does, and everyone else has lifted her up to get her to this point, but also it's not what she actually needs.
so it's hyuse who just calls her out and says "you can shoot people." and not even in a cruel way. he's genuinely baffled because he doesn't understand why this has gone on so long and no one has addressed it.
and this sentiment is coming from the fact that this hyuse also has his own bias. and his bias tells her that this is a child soldier. because game recognises game and while yuma is also a child soldier, hyuse feels more structured and directly taught as opposed to yuma who feels like he was given lessons and training, but also heavily encouraged to figure it out on his own and define his own path.
that's why hyuse can speak so concretely about how to break down overwhelming things. that's why he doesn't say ambiguous lines of supportive dialogue, he actually breaks it down and offers insights and actionable, understandable steps.
chika doesn't need steps. from his point of view, chika is already there. chika doesn't need to be pushed or prodded or backed into a cornerâshe needs to make a decision. and chika panics and retreats. her friends and confidants take over to help soothe her and that's when she's able to finally say things herself instead of people assuming and diagnosing on her behalf. she's able to talk about how deeply she thinks about the way people think about her. about the lengths she goes to in order be amicable and not rock the boat. about how she doesn't say anything because last time she did, her friend got taken and she was so afraid of being blamed for it. more than her grief, it was her fear.
hyuse sees how she has comported herself in order to survive and he sees how that is no longer conducive to her actual goals. because there is a difference between "i want to fight" and "i want to fight".
so that's why he tells her to protect osamu and yuma in his stead. he doesn't tell her to shoot, he tells her now. and that says a lot about him as well.
he gives her a fucking fist bump im still screaming about it.
the way characters see each other being reflective of they themselves is oughhh. seriously one of the most attractive things about world trigger because of the diverse opinions, mindsets, and backgrounds that all feed into who they are, what they do, and why they do it.
the world trigger in-universe timeline is so fucking funny when you think ab it
wdym in dec 10 osamu and yuma met, and by dec 14 they joined tmk and dumped all the chika and yuma trauma too. i was under the impression that the two guys would at least have a decent amount of off screen school days together to establish a semi friendship (?) before the whole swearing fealty and all that. in four days yuma had deduced that osamu was an insane person who threw himself into danger all the time but was kinda chill for that actually and they should be friends now yayyy
the entire series has only been between dec and march btw. barely four months. literally, summer and autumn havent even been experienced in the manga yet man, and spring has barely been seen rn (despite all the seasonal merch showing otherwise)
even without the hiatuses and irl delays, just purely looking at the story itself, its so insane all this shit has happened in a handful of months. away mission any% speedrun fr.
just finally finished my hxh 2011 rewatch along with media club plus. great time, def recommend, etc. but what im thinking now is things like "this is like the ending of mgs4 in that the protagonists dad shows up and talks for a really long time and i need to kill him" and "i feel like my understanding of yuugo kuga really blossomed when i was like ohhhh hes kind of like if ging freecs decided to raise his son, isnt he."
"i never could say no to you" is one of my favourite phrases in the entire english language because it's so casually cruel. even when it's spoken fondly or lightheartedly there's this dismissive implication of blame to it, like twisting a knife. whatever happens next is on your hands. i want you to know that i betrayed and destroyed myself for you.
This is going to be the most sincere and unironic World Trigger post Iâve ever made but this panel instantly floored me when I read it and I need to express my thoughts about it immediately.
I feel like you can extrapolate a lot from this, not only about Yuma and Hyuse but also about the other agents and Border as a whole. My personal analysis on the Border combat system & itâs effects on the agents under the cut! Be warned, it's very long.
As we know, Border is structured so that agents can fight at minimum risk to their actual lives. Primarily because of trion bodies and bail out, but their fortress of a headquarters & the fact that theyâre all volunteers play a role as well. Obviously from a meta perspective this is a world-building choice that allows the story to avoid major character death, as well as the anxiety and complicated emotions that would come from constantly being in physical danger, so that the plot can focus on cool fight strategies and fun casual interactions between the squads. But what I think is interesting about World Trigger is that while the story doesn't focus heavily on these themes, it doesn't avoid them altogether either.
We have seen in the story that, while combat bodies and bail out make it so that agents are not regularly in mortal danger on the field, all of these safeguards are not foolproof. The first humanoid neighbor invasion actually has a death toll as a result of Enedra attacking Border HQ directly, and the arc ends with Osamu risking his life and getting seriously injured in his real body (an action that is taken very seriously by other characters, particularly Jin). In the end, trion bodies are only a protection for a limited period of time, and bail out as an escape is only as secure as your base is. If Border HQ was ever seriously compromised the stakes would start to get very real, very quickly.
World Trigger clearly knows how to write complex emotional conflict -- it's done it with Chika, Yuma, and a few other characters over the course of the manga -- it just does it sparingly. World Trigger could use the trion combat system to completely skip over the concept of mortal danger, but it's chosen not to. I think that's really interesting, and for me it opens the door to speculation about the specific relationship that Border agents would have with physical injury and the concept of mortality, if they can constantly fight and get hurt at (as far as weâre aware) little risk of permanent damage.
This is where Hyuse and Yuma come into play. The relationship that they both have to combat is wildly different than that of most border agents, which is proven by their comments in this chapter and others. We know for a fact that Yuma has been fighting in neighborhood wars since he was a kid and that he has been in mortal peril himself on at least one occasion. Given what we know of the situation in the Neighborhood, I would guess that Hyuse has had similar experiences. Clearly they donât have any illusions about being impervious to physical danger, and are used to strategizing with this fact in mind.
The only technology that Border has that neighbors as a whole donât is bail out (and some neighbor groups do have bail out now). Triggers are neighbor technology and they use trion bodies in combat just like Border does. The main difference between Yuma and Hyuseâs experience with combat and Border agentsâ is that trion-based conflict in the neighborhood is constant and ongoging, and Yuma and Hyuse presumably have not had the option to opt out and go home.
So given their backgrounds, itâs not surprising that Hyuse and Yuma would come to the conclusion that the squad switch-up could be testing the waters for the possibility that people will be lost on the mission. That doesnât say a whole lot about them that we donât already know. However, the fact that they were the only ones to offer up this possibility in my opinion does say a lot about everyone else.
The purpose of the squad switching (in relation to the mission only and not counting the âitâs so that we can make better B-rank squadsâ thing) seems relatively clear to me; the away mission is going to be a chaotic environment with constantly shifting factors, and the agents on it need to be able to deal with change. Most of the things said by characters in these chapters fits into this assumption pretty well. But part of that chaotic environment is going to be serious danger, and I donât think thatâs been talked about enough. Theyâre not operating on home turf, donât have access to all of their technology, and could be entering into situations that are actively hostile. It is an entirely different combat environment to the scattered monster fights and tower-defense setup theyâre used to back home. And the away mission ship isnât going to hold a candle to Border HQ in terms of strength of defenses. Even if the away mission agents can bail out back to the ship (and according to Ashihara that technology has limitations), they could still be in danger regardless, and the away mission should be planned with this in mind.
So the fact that itâs highlighted that only Yuma and Hyuse have offered up the possibility of agents dying on the mission (if Iâm going to get all comic-studies-y about it Iâd love to note that not only are the panels of the agents whoâs opinions are being discussed inherently dramatic in their composition, but at least on VIZ.com the Hyuse and Yuma one is on the other side of a page flip which holds suspense and makes the impact of their statements stronger), as well as their comments being marked as âa neighbor thing to sayâ, in my opinion confirms that the other squad members might not be considering physical danger as a real possibility. Personally, I think that makes a lot of sense. I think that it could be easy to forget that danger to your real body is possible if you are constantly fighting and getting injured in a fake body and can beam safely back to a base that rarely gets breached if that body gets destroyed. If this series had a slightly different tone, I would say that exploring the assumption made by characters that HQ is a safe haven from danger to your real body could make for an interesting plotline. And that's definitely an idea that could be touched on on the away mission as well, if the story wanted to take that route.
As a side note -- it also makes sense to me that those comments from Yuma & Hyuse would get some upvotes from higher ranking agents who have probably had experience in more dangerous situations (particularly Jin; Iâm sure he understands the stakes of all of this quite well considering his side effect but thatâs another post entirely).
Anyways, in the end this is mostly conjecture and personal interpretation on my part. Obviously WT is a shounen series about teens that remains overall pretty lighthearted, and serious stakes like death donât get brought into the story very often and I respect that. But I think that the few situations in which we have had to grapple with more intense consequences for things have been really thought provoking, and the setup of WT creates a great jumping off point for a lot of interesting concepts imo.
I do think that there's probably a point to Yuma and Hyuse bringing up the concept of agents dying on the mission though -- World Trigger isn't really one to leave threads hanging and when concepts are focused on it's usually for a reason. And the story has certainly been willing to acknowledge heavier topics in the past even if they're not focused on directly in the main story, so I doubt that they're going to completely skip over it after this. But exactly what it's leading into I couldn't say. It's equally likely that the point of this was to emphasize how desensitized to conflict the neighbors are in comparison to Border, or both that and my previous theory. Regardless, we're probably going to be getting some more complex emotional arcs (Ă la Chika's mental block) from the characters once the theoretical away mission arc starts, or at least it seems that way.
Anyways, if anyone has any thoughts on this besides me, I would love to hear them! I might be talking to an audience of just myself with this post lol, but either way if you read it all I hope you found it interesting at least!
Yeah, sure, seeing new things is helpful as a fantasy writer. But. Donât make the mistake of assuming that exposure to new things is the same as traveling. You know what else exposes you to new things? The internet. Documentaries. Books. Freaking Youtube. So when youâre bored of cats and cooking tutorials, go on an adventure!
You wanna write create some fantasy creatures but donât know where to start? Go check out some videos The Weird Creatures Earth has Had.
Want some inspiration for your Super Evil Villainâs Villanous Deeds?
Or maybe you want some weird locations to kick start your Fantasy World Terraforming?
Or maybe you need knowledge of bunches of historical places and cities and cultures?
But maybe youâre basing fantasy on the modern world?
Okay but lets say you want to start from the same inspiration as GRRM? (and part two!)
Thatâs just the stuff I could quickly grab. Things Iâm subscribed to, that I know offhand. There is So. Much. Stuff. Online.
The best thing about the internet is that it means its not just the fortunate sons that get to learn, and explore and imagine and write. We get to see stories from all over the place, from all sorts of people, who bring All Kinds of New Ideas.
Ok, mother of GOD that's a lot of responses and I am but one man with Excel. I'll update these ASAP but also some rules:
A Pokemon only counts for itself, not its evolution line.
A Pokemon with multiple forms (like Zygarde) will only be counted for the specified form. A Pokemon with multiple appearances (like Spinda, Vivillon, Sylvally, etc.) count for all their appearances.
I'm literally doing this as a testament to my own depression that not everyone is lovable, so add that to the weight of this post's meaning.
areudirty
stormborns
germansingergirl
s-u-f-j-a-n-s-t-e-v-e-n-s
titsay
origamiaround
