I Don't Understand Crushes In The Sense That I'm Unsure If I've Ever Had One...

I don't understand crushes in the sense that I'm unsure if I've ever had one...

So I asked my friends to explain it to me and one simplified it to

"Think of it as a food craving but instead of food it's a person's attention/affection."

And god damn, now I understand- just compare it to food

Sk8 headcanons because i can

Reki has definitely stolen eyeliner from Shadow before and Shadow thought he lost it

After watching Miya play with his switch Joe wants to try it and gets absolutely addicted but instead of buying one (because he's canonically broke) he always "borrows" Miya's

Langa most definitely is a secret Swiftie

Cherry absolutely sucks at Mario Cart, no matter how clever that man is, no matter how many Carla's he invents, when Miya forces him to play, he crashes into the wall first thing

Reki hates nothing more than tying shoelaces so he either wears shoes without laces or never ties them properly and walks around with untied shoes

Langa on the other hand always, always, always, ties his shoes twice and after a while he gets so bothered by Reki and his untied laces that he ties them for him

Joe is a sucker for romance movies and secretly ugly cries every single time he watches one

For every restaurant Miya goes to he has 1 specific go to order that he never changes so he always eats the same things

Shadow has a Polaroid of Cherry, Joe, Reki, Langa and Miya that he took when they went to hot springs in his phone case. None of the others know it's there

I’m seeing things on twitter about how an Iron Widow musical would go, and now I can’t stop thinking about it:

The opening song is Yang Guang’s power song, featuring epic costumes of the chrysalises. The other pilots are the chorus.

Then we get Zetian’s ‘girl in a small village’ song with a few lines from Yizhi which transitions into a vengence song as she goes off to be a concubine.

A reprise of Yang Guang’s power song, but this time instead of a backing chorus of the other pilots, the chorus is young women, dressed as concubines. Every young woman he’s ever killed, and it’s haunting. Then out of the crowd steps Zetian, there’s a back and forth between them as they fight, until she takes over Yang Guang’s song completely, killing him at the climax.

The next song is called Welcome To Your Nightmare. It’s short and badass, and ends with Zetian being dragged offstage.

During Zetian and Shimin’s failed attempts to reach Ascended form, they keep singing over each other and it feels like a fight. The lyrics and harmonies have gaps, like they’re missing something. When Yizhi joins them and they reach Ascended form, we find out what’s missing: the song should actually be in three part harmony, and Yizhi sings the missing lines. Everything falls together perfectly.

This song gets reprised every time members of the Iron Triangle kiss, but there isn’t a full reprise until Yizhi and Shimin kiss and the triangle is complete. By this stage it’s not just a fight song, it’s a love song.

Gaozong has a villain song.

I’m in a The Amazing Devil Discord server and have been going wild with crazy insane theories about just about everything, drawing connections that probably don’t actually exist, and generally losing my mind over both Love Run and The Horror and the Wild. That being said, I do have a theory about THatW that, if it’s not true, at least merits me a tinfoil hat, I think. Just be warned, this post will be long, and yes, I will include receipts.

So here’s this theory and Joey, if you read this, just know that I’m impressed either at how much thought was put into this, or the sheer number of coincidences that make this work if it wasn’t planned. It’s turned me into a conspiracy theorist for the past four days or so? And it’s severely affected the amount of sleep I’ve been getting.

My basic theory here is that Joey and Madeleine aren’t singing as themselves throughout this album, they’re playing characters, and those characters are old gods. Joey is the Wild, Madeleine is Time. (Alternatively, she’s Horror, fitting with the album title, but as she’s never explicitly referred to as such, I’m not insisting on that point.)

Now, where am I getting this silly idea from? None other than the title track, of course, in which Joey sings, “witness me, old man, I am the Wild, and Madeleine sings, “And I am Time itself.” And yes, they are both capitalized like that in the lyrics.

So they explicitly refer to themselves as such. But Emily, you might be saying (or not, depending on how much you care), that’s one song! This is hardly an album’s worth of proof! Sure, they might be gods in this song, but what about the other eight? To which I say, hoo boy, I’m just getting started.

Before I continue, I’d like to add something about how their characters are depicted throughout the album: Joey is more cheerful, Madeleine is not. (see: Wild Blue Yonder, Marbles, Battle Cries.) Joey is whimsical, Madeleine is practical. (See Battle Cries especially, but you can also see this in Wild Blue Yonder.) Madeleine is referred to multiple times as being stronger than Joey, and appears to assume a more protective role over Joey’s childlike. This fits in with my theory, by the way, in a roundabout sort of way that involves some squinting. Joey is the Wild, which is...well, wild. Think of little kids: cheerful, whimsical, in need of protection. Madeleine is Time. She knows what has been, what is, and what will be. Of course she’s going to be more mature, practical, and pessimistic.

And why is this important? Well, it’s kind of how I’m tying together a lot of the rest of the album. (Not all of it; Farewell Wanderlust is a notable outlier in many ways, and some of my connections are tenuous at best, but we’re going to ignore that and pretend it’s all rock-solid. Rockrose-solid. I’m sorry, I’m very tired.) I’m ignoring The Rockrose and the Thistle a little bit in this post, not because I dislike it (it’s gorgeous), but because it’s stubbornly eluding my attempts to tie it into anything other than Elsa’s Song, which isn’t even part of this album.

The vast majority of what you need to know about these two characters is in The Horror and the Wild (the song), so I’m gonna copy/paste some lyrics, and go through them. (Actually, the copy/pasting is nonexistent, these lyrics are imprinted on my brain at this point. That being said, if there are errors, lmk and I will edit the post and fix them!)

So we’ve got Madeleine starting, singing about Joey, with “You were raised by wolves and voices, every night I hear them howling deep beneath your bed, they said it all comes down to you.” Aside from the fact that I have no clue why “it all” comes down to Joey, or anything with that last bit, maybe a few more late nights with a tinfoil hat will do the trick. That being said, the first line of the song references childhood specifically in relation to Joey. Notice also how wolves are referenced in Wild Blue Yonder (“we don’t know what’s out there/could be wolves”) and That Unwanted Animal (“‘What’s the time, Mr. Wolf,’ but you, you’re blind, you bleat, you bear your claws”). The whole “howling” thing and “deep beneath your bed” both pop up in That Unwanted Animal, too: “and on the wind it howls,” for one. And for the other, there’s “you [presumably Joey] make the bed up silent on the floor so no one hears us,” later followed later in the song by “and the door below us splinters, and the creature creeps inside.”

Following this, Joey sings about Madeleine: “you’re the daughter of silent watching stones, you watch the stars hurl all their fundaments, in wonderment at you and yours, forever asking more.” First of all, I’m gonna say that this is Joey’s point of view; later on, Madeleine will refute the daughter thing (“I’m not a drunkard, a daughter, a preacher”.) Anyway, “silent watching stones” could reference Wild Blue Yonder: “every stone you threw, I stood on to better see the view.” The view being the stars hurling all their fundaments?

(Incidentally, I knew vaguely what “fundament” meant, but I looked it up to make sure I had it right, and learned that, among its other meanings, “fundament” can mean “butt.” But I don’t think that’s what Joey had in mind with this. I just think y’all should appreciate it.)

Anyway, we’ve also got in Battle Cries, “With you I could summon the gods and the stars, make them dance out the plays that we wrote from the heart, and we’d laugh at the ghosts of our fears,” with Madeleine singing, “Come on, love, please don’t start, sing your notes play your part,” and then the part that gets me every time: M: “we were gods,” J: “we were kids.” Which is a whole other can of worms involving their personalities, which I’ve already briefly outlined. My point is the whole “gods and the stars” bit.

I could (and have, on Discord) done a full, in-depth analysis of this track, and I don’t want to go all over it again, but “I promise you, they’ll sing of every Time you passed your fingers through my hair and called me child, witness me, old man, I am the Wild” has both Time and Wild as proper nouns in the lyrics, plus reinforces Time’s view of the Wild as a child. No clue who the old man is, though.

In verse two, Madeleine sings, “you [Joey] are the son of every dressing-up box, and I am Time itself, I slow and let you play, I steal the hours, and turn the night into day.” Again, this reinforces Joey’s childlike aspects (which will later be hinted at in That Unwanted Animal, with the “god-child,” who’s clearly Joey), but also shows, as in the refrain, the fact that Time has a sense of protectiveness over the Wild, at least sometimes.

That being said, although I’ve obviously referenced other songs, I still have mostly focused on the title track. So. I’m going to go through some of the other songs real quick.

The songs on the album (again, excepting Rockrose, because my attempts to tie it in have been frustrating and not gone anywhere, Mr. Batey please explain) can be grouped into categories: songs outright referencing gods (THatW, Farewell Wanderlust, That Unwanted Animal, Battle Cries), songs about their relationship, (arguably all of them, although Welly Boots is a bit confusing), and songs that refuse to allow me to classify them (Rockrose).

I would argue that this entire album is about the relationship of two old gods, but I’m not quite sure what the chronology is of the album, because it seems like it can’t be straightforward. (Farewell Wanderlust, although its placement makes sense in the setup of the album, doesn’t make sense in the chronology of this theory.) Another important note in some way is that every song on the album, with the exception of Farewell Wanderlust, is about being there for someone, or steadfastness in some capacity, while Farewell Wanderlust is about abandonment. It’s an outlier in a lot of ways. (Though not as many ways as frickin Rockrose.)

I have been talking about this at great length (and almost incessantly) on Discord, so unless you want this post to get even longer, I’m going to run by some lyrics real quick to try and show a little bit my thought process.

- “He watches her get dressed as though she’s hurtling through time” (Fair)

- “And she is stronger than he has ever been, he knows” (Fair) versus “Without you, I’m stronger, I’m no longer filled with wonder. How wrong you were” (Wild Blue Yonder, Welly Boots)

- J: “Place your hand in mine” M: “Hold the hand of the god-child, they said, as he falls from the sky” (That Unwanted Animal)

- “I’m the saint of the paint that was left in the pot, I’m your angel ellipsis, your devil of dots” (Farewell Wanderlust)

- “the fluttering of all your wings” (The Horror and the Wild) versus “when you think about him, my wings start to flap” (Farewell Wanderlust)

- “come, devil, come, she sang, call out my name. Let’s take this outside, ‘cos we’re one and the same. Our gods have abandoned us, left us, instead, take up arms, take my hand, let us waltz for the dead” (Farewell Wanderlust)

There are even more lyrics, and I’m going to be completely honest with you, I’ve gone totally insane with all of this, but this post is way too long already, so just let me know if you want any clarification or something.

Tldr: The Amazing Devil’s album The Horror and the Wild is about two old gods, one being Time, and the other being the Wild, or the god-child. The album is primarily about their relationship and steadfastness they show each other, even in tumultuous circumstances.

Now go excuse me while I attempt to take off this tinfoil hat that appears to be stuck on my head.

Writing fight scenes

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1. Pacing

A fight scene should be fast-paced and intense. Unless it's a final battle with numerous parties, a fight scene that's too long tends to take away suspense. To speed up your pacing, use active voice to describe movement and don't overdescribe your characters' thoughts. Excessive inner monologue will be unrealistic, as people usually have no room to think during intense combats.

2. Character mannerisms

Here's a point that people often overlook, but is actually super important. Through fight scenes, you should be able to reveal your characters' contrasting mannerisms and personality. A cunning character would play dirty - fighting less and making use of their opponent's weakness more. A violent character would aim to kill. A softer one would only target to disarm their enemies, using weakened attacks. A short-minded character would only rely on force and attack without thinking. This will help readers understand your characters more and decide who to root for.

3. Making use of surroundings

Not only the characters, you also need to consider the setting of your fight scene and use it to your advantage. Is it suitable for fighting, or are there dangerous slopes that make it risky? Are there scattered items that can help your characters fight (e.g. nails, shards of glass, ropes, wooden boards, or cutlery)? Is it a public place where people can easily spot the fight and call the authorities, or is it a private spot where they can fight to the death?

4. Description

The main things that you need to describe in a fight scene are :

• Characters involved in the fight

• How they initiate and dodge attacks

• Fighting styles and any weapons used

• The injuries caused

Be careful to not drag out the description for too long, because it slows down the pace.

5. Raise the stakes

By raising the stakes of the fight, your readers will be more invested in it. Just when they think it's over, introduce another worse conflict that will keep the scene going. Think of your characters' goals and motivations as well. Maybe if the MC didn't win, the world would end! Or maybe, one person in the fight is going all-out, while the other is going easy because they used to be close :"D

6. Injuries

Fights are bound to be dirty and resulting in injuries, so don't let your character walk away unscathed - show the effect of their injuries. For example, someone who had been punched in the jaw has a good chance of passing out, and someone who had been stabbed won't just remove the knife and walk away without any problem. To portray realistic injuries, research well.

7. Drive the plot forward

You don't write fight scenes only to make your characters look cool - every fight needs to have a purpose and drive the plot forward. Maybe they have to fight to improve their fighting skills or escape from somewhere alive. Maybe they need to defeat the enemy in order to obtain an object or retrieve someone who had been kidnapped. The point is, every single fight scene should bring the characters one step closer (or further :D) to the climax.

8. Words to use

• Hand to hand combat :

Crush, smash, lunge, beat, punch, leap, slap, scratch, batter, pummel, whack, slam, dodge, clobber, box, shove, bruise, knock, flick, push, choke, charge, impact

• With weapon :

Swing, slice, brandish, stab, shoot, whip, parry, cut, bump, poke, drive, shock, strap, pelt, plunge, impale, lash, bleed, sting, penetrate

I don't understand crushes in the sense that I'm unsure if I've ever had one...

So I asked my friends to explain it to me and one simplified it to

"Think of it as a food craving but instead of food it's a person's attention/affection."

And god damn, now I understand- just compare it to food