additional-stories

FFXV ATR Translation  -  FFXV shipped over 6 millions. Includes both physical and digital.  (Gif is from the upcoming Prompto DLC )  

2/21 Update will include. -

PS4 Pro HD 60 FPS Patch.

Limited time quests (hunts for now but also future ones like fishing etc) and the level cap will be increased from 99 to 120. Note that you cannot save exp pre-patch to level post-patch. Pre-patch exp will be invalid toward levels over 99. So remember to update before leveling. 

Photo limit  increased to 200. (needs to be 500+ imo!)

A new MP3 item will be added to Regalia’s shop which will allow you to listen to music while riding Chocobos.   More FFXV music tracks to be added to the current player. 

Booster Pack Paid DLC will include -   Magitek Suits , Booster Sword, Dragon Mod (a new fishing rod) Aviol (fishing reel) and other additions. Free DLC Pack gets the Magitek Suits.

Off-road driving  -  The ability to drive the Regalia outside of designated roads is currently in development. (Do we really need this though? I’ll rather have additional story content.)

The FFXV Platinum Demo will be  removed from the PlayStation Network and Xbox Live on March 31st. So get it while you still can!

Episode Gladio DLC 3/28.   Along with the addition of DLC, an update to the game will be made to improve the story aspects of the game, specially with Chapter 13. You’ll also be able to play as Gladiolus for a short period.  (in Chpt 13 ??) Other various upgrades and fixes will also be included.

Episode Gladio will focus on combat. Episode Prompto will focus on story and character development, showing a side of Prompto we have yet to see. (Finally confronting Verstael?)

One of my favorite moments in this adaptation is this exchange:

Belle: Why do you care about him so much?

Mrs. Potts: We’ve looked after him all his life.

Belle: He’s cursed you somehow. Why? You did nothing.

Mrs. Potts: You’re quite right there, dear. You see, when the master lost his mother, and his cruel father took that sweet, innocent lad and twisted him up to be just like him, we did nothing.

It always bothered me that the staff was cursed when they did nothing to deserve it, but in this version they were punished for a reason. They let him become the way he was when they could have stopped it. I thought this was a beautiful addition to the story.

FELLSWAP COMICs & SETTINGs CATALOG

THIS POST WILL BE USED AS A CATALOG TO SHOW ALL THE LINKS OF PACIFIST CHAPTER COMICs AND SETTINGs.

※The AU designing is based on the swap version of underfell.
※This AU was started as a supplement of red version swapfell skelebros,to separate them from purple swapfell AU made by KH.
※The character design(minus papyrus&sans) are from @blackggggum
※This blog mainly posts the comic story and additional settings of fellswap.

※WE ARE STILL COLLAGE STUDENTS AND A LITTLE BIT BUSY,PLEASE BE PATIENT.


※Character Appearance Design※

FULL CHARACTER DESIGN(THE LEFT-HAND COLUMN)

PIXEL SETTINGS

Moana Had Brothers?! Meet 'em in Exclusive Deleted Scene From Disney's Animated Blockbuster

How far did Moana go from the initial drawing-board version? Fans who snapped up $565 million worth of tickets worldwide might not recognize the story of the plucky teen wayfarer as originally conceived.

With the Oscar-contending animated hit heading home (the Digital HD version arrives Tuesday while the Blu-ray/DVD hits shelves on March 7), Yahoo Movies has an exclusive deleted scene (watch it above) that shows how the title heroine evolved as a character.

Related: Lin-Manuel Miranda on His Oscar-Nominated ‘Moana’ Song: ‘You Start By Thinking, Don’t Write “Let It Go” ‘

As they set up the clip, directors Ron Clements (the one with the beard) and John Musker reveal where it originally had fit in the film.

“This is a very early scene in the movie, where Moana had six older brothers,” says Clements, “and this was a showcase for Moana’s sailing proficiencies and how she really kind of outdoes her brothers.”

(Courtesy of Disney)

“We lost her brothers and wanted to make her less proficient when she was sailing so this scene went away,” adds Musker. “But it’s a fun scene.”

(Courtesy of Disney)

“The scene went away as did her six older brothers,” says Clements. “Somehow she became an only child and probably is much happier as an only child.”

(Courtesy of Disney)

The “Lost Brothers” deleted scene is one of seven included on the home edition, along with a Lin-Manuel Miranda tune, “Warrior Face,” that also wound up on the cutting-room floor.

(Courtesy of Disney)

As Musker and Clements explained earlier to Yahoo Movies, they ultimately decided the film is about Moana’s journey of self-discovery and empowerment and the story was streamlined accordingly. For example, the directors said an early iteration of the story had Maui performing more heroics in the climactic battle, but, after discussing with some female coworkers, the filmmakers realized Moana didn’t need Maui’s help in defeating the vengeful goddess Te Kā. Likewise, the subplot with her battling a half-dozen brothers for the attention of their chieftain father felt superfluous.

Related: Is 2016 the Best Year for Animation Ever?

Disney is notorious for its intense story-vetting process, with many films undergoing radical changes, and Moana is no exception. Musker and Clements, whose joint credits include Aladdin, The Little Mermaid, and The Princess and the Frog, told us earlier that the heroine’s breakout sidekick, the daft rooster Heihei, was almost excised from the film because they had trouble figuring out how best to organically fit him in the story.

In addition to the excised scenes and song, the Digital HD and Blu-ray versions of Moana will include the Maui-Moana short “Gone Fishing,” the theatrical short “Inner Workings,” music videos, making-of featurettes, director’s commentary, and a guide to the film’s Easter eggs.

Snufkin

Snufkin is one of the most iconic and popular Moomin character. He first appears in the book Comet in Moominland (1946) and if one of the characters who appears in almost all media; comics, animations, additional stories… Snufkin is the child of Joxter and Mymble, which makes him a younger half-brother of both Mymble’s daughter and Little My. Some adaptations remove his relation to the Mymbles, such as comics and 1990s animated series.


Snufkin was created when Tove Jansson was in a relationship with Atos Wirtanen, a left-wing politician, journalist and cultural critic. Snufkin’s wide smile, pipe and hat are modeled after Atos. Snufkin’s independent and bohemian way of living is similar to both Atos and Tove but it’s also apparent that Tove’s little brother Lars was also a model for Snufkin. Lars has been said to have been the family member Tove was closest to right after their mother.


Snufkin values freedom above all else. Tove herself stated that “freedom is the most important thing”. She described Snufkin’s loneliness as “the good kind”. This is in contrast with Fillyjonk’s “wrong kind” of loneliness. Snufkin’s loneliness is something he chooses for himself. Snufkin does not attach himself to places, possessions or people. He can throw his tent away and is happy just looking at beautiful things rather than taking them with him. Snufkin values his own space where he can concentrate on his melodies. He can sometimes come off as unfriendly because he has a habit of being rather curt with people who invade his peace. For better or for worse, Snufkin is very charismatic and people flock to him to hear his wisdom.


The strongest attachment in Snufkin’s life is Moomintroll. No matter how hard Snufkin tries, Moomintroll and how he misses him will always come to his mind. And Moomintroll will always miss him and wait for him. This is clearly similar to the relationship between Tove and Atos. For Tove, Atos was the center of her world. She was entirely dedicated to their relationship, while Atos was preoccupied with his career and political ideals. Like Moomintroll, Tove was always waiting for Atos to spend time with her.


After Tove’s love for Atos cooled down, they remained good friends until the end. She was able to see his faults in a more critical light but also understood them with humor. Similar friendship after love can be seen between Snufkin and Moomintroll in later stories. It’s still good to remember that Tove Jansson’s style was to write characters and themes inspired by her life rather than actually insert them in her books. Snufkin and his relationship Moomintroll are more likely meant to reflect themes about admiration, dedication and waiting. With some small exceptions, characters in Moomin books are independent and more inspired than based on actual people. This is why Snufkin also is inspired by more than one person.


Snufkin’s character changes a bit as the books go on. This is most likely affected by the stories becoming more mature and Tove’s relationship with Atos changing. In the first books Snufkin is a passionate artist. He tells outlandish stories about himself and is actually happy to meet people. In later publications, this was among the things Tove Jansson fixed. She made Snufkin’s character more consistent and made him more quiet and distant to match his characterization in later books. He is the contrast to Moomintroll’s naivety and has a great effect on Moomintroll’s personal growth.


In Moominvalley In November (1970) Snufkin seems to let go of his aversion to the company of others. His character arc is about realizing that he was always free with the people who loved him because they actually let him do as he pleases. This realization leads him to return to the Moomin’s house even though it’s getting close to winter.

Bard Week: Magically Musical Equipment

I decided to come up with a bunch of bard-friendly or bard-specific magic items since bards don’t get much love in terms of treasure other than generic weapons or that short list of magic instruments that just cast spells. These are at least unique or interesting, but some are a bit “out there.” If you are a loose DM and your players like having a laugh, these items are perfect for you.


Accelerating Wardrum

Uncommon, requires attunement by a bard

This Behir skin stretched over a black wooden drum can be beaten as a bonus action once per round. Doing so moves a creature the bard chooses to be moved one step ahead in the initiative order.

Rapier of Harmony

Very Rare, requires attunement by a bard

A thin silver +1 rapier that hums when swung. The wielder can use a bonus action to make a Performance check. On a result of 16 or higher, the rapier vibrates and creates a tone that harmonizes with the wielder’s voice. The next attack deals bonus damage equal to the bard’s CHA modifier.

Resounding Scimitar

Rare, requires attunement by a bard

Whenever a creature fails an attack roll against a bard wielding this gleaming white scimitar with a wavy hilt and pattern, the bard can use their reaction to whack the creature’s weapon with the scimitar and cause a loud, grating noise to deal 1d6 thunder damage to the attacker if they fail a DC 14 CON saving throw.

Song of Activation

Special (Song)

A specific song that when played, will activate known magical items or runes in the world. [Use this song as treasure that can progress the plot, almost like finding a key to the next room of a dungeon. Think of learning a new song in The Legend of Zelda: Ocarina of Time]

Song of Prestidigitation/Thaumaturgy/Druidcraft

Special (Song)

A specific song that when played, can mimic the effects of a Prestidigitation, Thaumaturgy, or Druidcraft spell, respectively. [A song that can be learned by a bard that is relatively harmless to the integrity of your campaign’s storyline]

Biting Words

Special (Words)

Powerful words that the bard can speak with their magic to deal 1d6 cold damage at a range of 60 ft. This damage increases by one die at 5th, 11th, and 17th levels. [basically a new cantrip for bards that deals more damage than Vicious Mockery but doesn’t impose disadvantage]

Orb of Radiant Song

Common, requires attunement by a bard

Much like a Driftglobe, but only produces light while the bard is singing. [It has slightly less uses than a Driftglobe thanks to negating attempts to move silently with it lit, and its attunement restriction, so it’s meant for the very early game.]

Backup Golem

Rare, requires attunement by a bard

A tiny golem or animated object that comes to life only when the attuned bard is performing. The golem gives the bard advantage on its Performance checks as it embellishes or harmonizes with whatever the bard does for their performance.

Sassy Friend

Uncommon

A tiny totem or charm that is shaped like a mask. When the wielder attempts to make an Insight check to determine if a creature is lying, the Sassy Friend charm animates temporarily with a backhanded comment, which it says aloud (whether or not the creature was lying). This decreases the DC to determine any lie by 1. This bonus does not stack with itself or other Sassy Friends.

Sassy Friend (Greater)

Rare

 A Sassy Friend charm that can also cast Zone of Truth once per day, centered on itself.

Nolzur’s Marvellous Pigments

Very Rare

This is an item that many bards would love to use but people always forget it exists. Whatever you paint becomes real! As long as it isn’t magical.

Cloak of Dancing

Rare, requires attunement by a bard

A bard who dances while wearing this audacious red cloak can fascinate nearby creatures, affecting them in a manner similar to an Enthrall spell, once per day. The bard need not concentrate on this effect, and in fact may make a Performance check against the onlookers’ Insight checks any time during the cloak’s Enthrall effect to animate the cloak and sneak out of it as it continues to dances and enthrall its audience.

Horn of Calling

Uncommon

An iron-bound animal horn acts as a magic megaphone that amplifies the volume of noises that pass through it. The Horn of Calling can also cast Whispering Wind once per day.

Cursed Collar of Tongues

Rare

A golden lace choker that allows the wearer to speak any language, but never quite what they intend to say. Whenever the player wishes to speak, the player says what they intend to say and then the DM blurts out what they inevitably say instead. A DC 20 Insight check will determine what exactly is wrong with the victim and a DC 18 Insight check will allow the player to get their true message across to a character. The player must overcome a CHA save to avoid having their next sentence bastardized by the DM. Each successful saving throw deals 1 psychic damage to the wearer as it the collar fights back against their efforts. The collar cannot be removed except by repressing its magic long enough to remove it, or by casting a Tongues or Comprehend Languages spell upon it along with a DC 15 Arcana check.

Death Whistle

Very Rare

A small bone whistle carved with symbols and imagery of death. The whistle, when blown, casts Circle of Death centered on the whistle. The DC for the spell is equal to the blower’s spell save DC. Once used, the whistle crumbles to dust as its shrill, eerie note echoes into the distance.

Ribbon of Hyucks

Rare, requires attunement by a bard

When this purple ribbon with white polka dots is worn by a bard, whenever the bard makes a pun, all creatures within earshot that understand the wordplay must make a DC 11 CHA save or take 1 psychic damage. This ability can only occur once per round and does not discriminate friend or foe.

Crossbow of the Fartongue

Rare, requires attunement by a bard

This crossbow is fitted with a cone at the end of the barrel, and a scope that is sculpted to look like a mouth’s opening. The weapon allows the wielder to bestow their ammunition with a noise or verbal message of their choosing not exceeding 10 words. This noise plays once when the imbued bolt hits, but then its magic fades. The crossbow can be used to relay information at a distance, create a distraction, or mislead other creatures. If the wielder wishes for the noise to be an explosion, the ammunition deals 1 bonus Thunder damage on hit to all creatures within 5 feet of where the bolt hit. An explosion noise can be heard up to 600 ft. away. The crossbow is dotted with holes and can actually be played as a wooden flute when not in use as a combat weapon.

Cloak of Deflection

Rare

This garment appears to ebb and sway of its own accord even without any wind. The wearer of this iridescent blue cloak may spend their reaction to deflect a single, nonmagical missile targeting them to another creature within 60 feet of the wearer. If the new target of the attack’s AC is equal to or less than the original attack roll, the attack hits the new target and the attacker rolls for damage as normal.

Book of Dreams

Uncommon, requires attunement by a bard

The cover of this book is made with soft leather and is bound with spider silk string and rare bird feathers. The tome is blank, but when a story is told by someone attuned to it, illusionary imagery appears hovering above the book, acting out what the storyteller describes. In addition, when a story puts someone to sleep, the storyteller may allow the book to display and act out the sleeper’s dreams, which usually somehow tie in to the story that was being told. It can be useful for coaxing information out of friendly people without their knowledge.

Dynamic Character Introductions: a case study

Your main character’s first introduction is one of the most important scenes in your story. In addition to establishing the setting and their role, their personality must be introduced to the audience quickly and subtly, so that it does not feel like exposition. In a visual medium, we do not always get the benefit of being able to read/hear their inner thoughts, so writers/artists have to come up with ways to convey the same information visually.

Here, we’re going to look at what makes a character introduction powerful, using Jack Sparrow’s first appearance in Pirates of the Caribbean as an example. The scene,which is only a little over a minute long can be seen here.

We first see Jack from behind, at a slightly low angle, giving him the impression of being powerful and mysterious. By lowering the horizon line, the audience is led to assume that he is standing high up, also adding to the idea of him as a powerful man.

The next shot continues this impression by forcing the audience to look up at him. We zoom into his intense expression as he grabs hold of one of the ropes and jumps down…

…only to reveal that his boat is tiny, and filling with water. This completely subverts the audience’s first impression of Jack. Disrupting audience expectations can also be done to make things more uncomfortable, but here it is used to establish him as a more comedic figure. We’re still only twenty seconds in at this point, and the audience has already gone through two different emotional reactions.

As we continue, Jack comes across a few pirates who have been hung, and he takes his hat off to salute them, telling the audience that he has an unconventional sense of morality, and sympathizes with criminals. He also sarcastically nods at a sign warning that pirates will receive the death penalty, telling us something else about his character.

Jack continues to stand on the mast while the little boat sinks, and stepping off of it once he reaches the boardwalk. His refusal to abandon ship shows an adherence to the idea that a captain should go down with his ship, but Jack does so in a way that allows him to save his own skin rather than sink. This lets the audience know that Jack is concerned with appearing like a good ship captain, but ultimately places his interests and self-preservation first.

7

Moonstruck #1

Publisher: Image Comics
(W) Grace Ellis (A) Kate Leth (A/CA) Shae Beagle

A NEW ONGOING SERIES from Lumberjanes creator GRACE ELLIS and talented newcomer SHAE BEAGLE that tells a story of monsters, romance, and magical hijinks! The first arc also includes an additional short story with artist KATE LETH!
Fantasy creatures are living typical, unremarkable lives alongside humans, and barista Julie strives to be the most unremarkable of all. Normal job, normal almost-girlfriend, normal…werewolf transformations that happen when she gets upset? Yikes!
But all bets are off when she and her centaur best friend Chet find themselves in the middle of a magical conspiracy. Will Julie and Chet be able to save their friends? Is Julie’s dogged determination to be normal a lost cause? Who’s going to watch the coffee shop while our heroes are out saving the world?? These questions and more will be answered in MOONSTRUCK, coming July 19 from Image Comics.

In Shops: Jul 19, 2017

lgbt+ (ya/mg) books read in 2016!

so a lot of people still reblog my “60+ queer books” post from 2014. ngl, i was barely 16 at the time and had not read a lot of books on that list (it was def intended to be more a listing than pure recommendation), mostly because adult fiction was and remains far from my favorite literary category. this list isn’t as intensely detailed, but i just thought that since the year is over i might jot down some of the lgbt+ books i loved or at least moderately enjoyed this year, in case anyone was interested! happy reading!

(and in advance, excuse my commentary o<-<)

ya favorites

  • i’ll give you the sun by jandy nelson — m/m. HEART-WRENCHING. GUTTING. EARTH-SHATTERING. 
  • we are the ants by shaun david hutchinson m/m (suicide cw) 
  • my most excellent year by steve kugler m/m. gay asam main character and the best character dynamics ❤️____❤️
  • the flywheel by erin gough f/f
  • gives light (6-part series) by rose christo — m/m. centered around a mute main character on an indian reservation (written by a native author!), features one of the most uplifting romances of recent media (cw for csa mention later in the series)

other ya books 
ordered approximately by rating

  • far from you by tess sharpe — f/f. bisexual protagonist (drug addiction, murder cw) a book on recovery, love, trust, justice, understanding… gut punch!!!!!
  • into the blue by pene henson — m/m
  • not your sidekick by c.b. lee — f/f. DOES THE TITLE NOT MAKE UR HEART SQUEEZE ALREADY? features half-chinese & half-vietnamese bisexual protagonist in futuristic superheroic universe! the second book will be about a trans black side character *___*
  • starting from here by lisa jenn bigelow — f/f. you will cry and be made a better person for it. 
  • almost like being in love by steve kugler — m/m
  • tell me again how a crush should feel by sara farizan— f/f. sometimes this book is like :|||| but sometimes it’s like :DDDD! persian american protagonist. 
  • the darkest part of the forest by holly black — both m/f and m/m (like i’ll give you the sun). for your slightly more indulgent ya needs!
  • you know me well by nina lacour, david levithan — f/f, m/m
  • the great american whatever by tim federle — m/m. if you enjoy mg or find its lgbt+ subsection especially important (or both, like me!), definitely make sure you check out federle’s better nate than ever series!
  • last seen leaving by caleb roehrig — m/m
  • wonders of the invisible world by christopher barzak — m/m. magical realism fix may be found here 👍
  • true letters from a fictional life by kenneth logan — m/m. tbh people call it the “male version of ‘to all the boys i’ve loved before’” but also neglect mentioning that it’s a lot whiter, too. where’s that supportive covey family goodness… that precocious but caring lara jean spirit? it’s just not there…
  • colorblind by siera maley — f/f
  • her name in the sky by kelly quindlen — f/f
  • radio silence by alice oseman — f/f, m/m, not hugely romance-focused

middle grade
there were very few releases this year that i was aware of, unfortunately! my old list’s selection remains a good place to look. here are 3 that i would recommend though:

(i think i might have read george in 2015, but i felt that i might as well put them all together!)

  • george by alex gino — follows the story of a trans girl. its storyline is similar to gracefully grayson, but unlike gg it is written by a trans author!
  • the other boy by m.g. hennessey — follows the story of a trans boy. pretty solid story except… uncalled for random racist comment in the middle of the book… wyd (waiting for the mg genre to grow more inclusive of lgbt+ children of color! not being racially hostile is the FIRST STEP.)
  • gracefully grayson by ami polansky 

+ A GRAPHIC NOVEL MOST OF U HAVE PROBABLY READ ALREADY: LUMBERJANES!! love it breathe it read it

if you want some mg books that have casually gay side/main-ish characters, i can name the wolf wilder and the thing about jellyfish, although… you have to kind of dig for it, so i wouldn’t call these revolutionary moments of representation, but! it’s just a nice addition to separate stories that remind you that the middle grade genre can be inclusive w/o becoming entirely issue-based (which i find sometimes more inaccessible for children? i ramble!). i do believe it’s good for young children to read this kind of fiction, too! 

__

finally, some lgbt+ books i did not enjoy or care for in any capacity, for posterity: highly illogical behavior (gross narrative surrounding mental health, sexuality), symptoms of being human (ya book abt a nonbinary character; written by cis author who bscly uses sexual assault as plot device & doesn’t acknowledge neutral pronouns?), know not why (really unapologetically homophobic tbh), whatever.: or how junior year became totally f$@ked, more happy than not (so… bleak…), see you at harry’s, and lily and dunkin (this is the fourth mg book about a trans character that i’m aware of; i found its message hugely alarming and invalidating). that doesn’t mean you won’t enjoy them, though! 

eonline.com
Louis Tomlinson Arrested at LAX After Paparazzi Altercation
The One Direction singer was in the baggage claim area with Eleanor Calder

Louis Tomlinson was arrested Friday night at Los Angeles International Airport for allegedly getting into an altercation with a member of the paparazzi, while his lawyer said the photographer was to blame.

The photographer has not commented. The incident took place while the One Direction star was in the baggage claim area with off-again, on-again girlfriend Eleanor Calder, after they arrived from a flight from Las Vegas, reports said.

A police spokesperson told E! News Tomlinson was surrounded by photographers and there was some pushing and shoving. One of the photographers fell down and claimed he hurt himself. Tomlinson was subsequently placed under misdemeanor citizen’s arrest.

“The paparazzi provoked and caused the altercation that occurred with Louis,” his lawyer, Martin Singer, told the press. “While the altercation was going on with the paparazzi, three other individuals were attacking his girlfriend during this incident and he came to her defense.”

Tomlinson was taken into police custody just after midnight and released after an hour after posting a $20,000 bond, records show. He has a court date later this month.

Reports also said Calder got into a confrontation with a female witness who began filming. She was not arrested and has not commented.

Tomlinson and Calder dated for four years before they split in 2015. They fueled reconciliation rumors last month after they interacted on Instagram. They have not commented on the status of their relationship.

take me there (g.d.)

~I saw Gray post this on his snapchat (graysondolan) and got inspired to write a cute lil blurb. This is the first thing I’ve written about Grayson, so I’m pretty excited. It’s just off the top of my head. I hope you enjoy!! :)

As always, please forgive any mistakes you might see.

**(No warnings. Just a lil fluff is all. xx)**

I’m actually gonna kill him,” you mumbled to yourself as you swatted another mosquito invading your personal space. All you wanted was to locate your best friend and get to the bottom of his weird behavior without being attacked by insects every thirty seconds. 

He’d been acting so strange the past couple days and neither you, nor his twin brother could pinpoint exactly why. He seemed too far lodged in his head; alone with his cyclone of thoughts. Grayson was never one to wear his heart on his sleeve per say, but he never did develop the toxic habit of shutting you or Ethan out when he wasn’t feeling one hundred percent himself. You desperately wanted to help your best friend, which is why you immediately jumped in the car to find him when you saw the recent addition to his Snapchat story captioned, “Thinkin spot”. You knew exactly where it was, having been there yourself many times. 

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lazilydeepcoffee  asked:

(please bear with me) Okay, so, I'm a 15 year old freshman in highschool, and I've wanting to create some sort of series, whether it be a comic, or something else for a few years. I haven't too serious about it, but after one my of my friends showed me your video, for some reason, i was especially inspired. Now, I already have one character... but that's all i got. How did you come up with the things in your film? And did you ever experience "writer's block"? and if so, how did you deal with it?

No worries dude!  So okay, I’m gonna’ be honest, when I read this, I was hit with such a weird mix of, like, “god this is literally impossible to answer”, and “man I remember feeling that way when I was 15″.  So I guess the best thing I could do is elaborate.

<ENTIRE poorly-structured NOVEL BELOW THE CUT.  I MISTAKENLY THOUGHT THIS WAS BEING POSTED TO MY PERSONAL BLOG.  YOU’VE BEEN WARNED.>

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Did you see Rogue One? (Spoilers)

In addition to important conversations about representation, something that’s stayed with me about Rogue One is that last scene. You know the one: Darth Vader just kind of walking down a hallway.

The entire story up to that point was one movie and it ended with a beautiful and heartbreaking scene on a beach. Then, the second movie began. We didn’t really need to see this addition to the story — we could have easily guessed what happened next — but Disney / Lucasfilm gave it to us anyway and I am so glad they did.

I mean, you kind of knew how that bit was going to end, one way or the other, and yet it was still so enjoyable and, I think, legitimately scary. Why?

It’s a short horror film.

I think a lot about how many of the best movies are camouflaged genre films and I’m sure I’ve written some way-too-long posts on Facebook about it more than once, but let me start with a different point about that.

Jurassic ParkTerminator (and to be fair, T2 as well). Both great movies. Something that always strikes me about the recent sequels / soft reboots / whatever… is that they forget the originals were at their heart, horror films — or at least relied heavily on horror tropes — borrowing stylistically and thematically.

I mean, okay, I’m no horror or genre movie expert, but if I remember correctly, as a kid, Terminator was always in the “horror” section of the video store.

Point is, Jurassic Park even has campy jump-scares.

And even though the T-Rex runs after the heroes, the protagonists are in a Jeep — so the speed is relative… and it’s effectively a nightmare hallway scene, where they can’t quite seem to get away as the killer slowly gains on them (more on that concept later). They don’t shy away from it at all.

Jurassic WorldTerminator Genisys? They’re action movies. They traded in these kind of beautiful tension-building scenes borrowed from genre movies for robot explosions and a T-Rex fighting a genetically engineered super raptor. They abandoned telling the story well — in other words, matching how the story is told (form) to what the story is about (function) in favor of trying to make “a wild ride” or whatever.

Back to Rogue One. That last scene is one of the only times I’ve ever found Darth Vader legitimately scary on screen (O.K. maybe the ending of Empire — but not like this). I was so impressed with this scene. It could have easily gone the way of the prequels — Vader boomeranging his lightsaber all over the place, force-leaping half a mile, performing needless pirouettes, but instead, he just walks forward.

Which — kind of unrelated — is tonally similar to what I loved about the 2003 Clone Wars animated series. General Grievous, ironically unlike the weird coughing cartoon character we got in the movie, was a badass killer. He was legitimately scary. And the way they put together the scenes that centered him as a villain really emphasized that. They borrowed tropes and stylistic elements from horror.

Vader doesn’t move fast because he doesn’t need to (of course, canonically he can’t really). He just plods forward, methodically killing everyone in his path. Tell me you don’t see the T-800 in that. Or Jason. Or Michael Myers. I love it.

The scene is a perfect, self-contained piece of art. The protagonist has a clearly defined goal with an item (a classic McGuffin) tied to that goal. That one rebel needs to get the disc down the hallway and through the door, to safety.

Here’s what makes it a short horror film:

The door gets stuck. The lights go out. Smoke and mist rises. The antagonist — a killer villain — appears with a goal in antithesis to the protagonist’s. Between the two, there’s a group of protectors. They fight, the protagonist and his allies try everything they can to stop or escape the villain and achieve their goal until, as we build to the climax, a dramatic question becomes clear. Will the protagonist sacrifice his life to achieve his goal, or will he succumb to fear allowing the villain to prevail? He pushes the disc through the crack in the door, he tells his last ally to run — to carry on without him — and he sacrifices himself for the greater good.

Again, this scene has a really simple yet elegant structure, executed flawlessly. Protagonist wants to deliver the disc to safety: Thesis. Antagonist wants to prevent the delivery of the disc: Antithesis. Despite complications, obstacles, and ultimate sacrifice, the disc is moved to safety: Synthesis.

The protagonist achieves his goal, though not how he wanted to. Strengthening that journey, he had to sacrifice what he wanted (personal survival) to achieve what was needed (survival of the disc and therefore, the group).

We knew that would be the conclusion all along because we’ve seen A New Hope, but I think it’s still compelling because it’s so perfectly structured and so well executed — the form of the scene perfectly matching the function.

Even better, this scene is thematically a microcosm of the entire story that just came before it.

Using horror tropes and borrowing from that genre works so perfectly in this scene because that’s exactly what it is. It’s a survival horror. The protagonist in this scene is stuck in a confined space, trying to escape while being hunted by a supernatural predator. What about that doesn’t lend itself to horror?

More major releases should embrace this philosophy. Hollywood needs to respect the intelligence of audiences a little more and stop jamming stories into whatever genre they’re determined to make. Instead, let the story guide stylistic choices. They shouldn’t be at odds; they should reinforce each other. That’s when a movie becomes art.

Let’s circle back to that idea about the slowly advancing killer. This may deserve it’s own article, but personally, I can’t separate these ideas.

The more I thought about this scene, the more I also got to thinking about Vader in this scene and why that slow, plodding advance is such a scary thing as well as why it ends up in so many horror movies. I mean, aside from how common it is in the history of genre movies, one of the most acclaimed indie movies of the last few years is a horror called It Follows where the whole premise and plot boils down to that one thing: a slow but endlessly advancing death.

I remembered something I read online a while back about human beings (originally mentioned in the context of how human beings usually portray ourselves in Sci-fi). Here are some screenshots of those posts…

(If you wrote any of this and would like credit, let me know. I haven’t been able to find primary sources.)

Whoever thought up that last scene must have known about these ideas. And much like the scene itself is a microcosm of the movie, the choices made in regard to how Vader attacks his enemies are a microcosm of what makes the scene beautiful. The writers didn’t make the flashy choice, or the bigger, badder, more epic choice. They made the right artistic choice. They made the human choice.

So, in addition to everything else, why is that short film so good and so scary? I think it’s because this method of hunting is distinctly human. For all his force powers, the scariest thing about Darth Vader in that scene is that he just. Keeps. Coming.

MOONSTRUCK #1 – GEM OF THE MONTH

STORY: GRACE ELLIS
ART: SHAE BEAGLE/KATE LETH
COVER: SHAE BEAGLE
JULY 19 / 32 PAGES / FC / E / $3.99
A NEW ONGOING SERIES from Lumberjanes creator GRACE ELLIS and talented newcomer SHAE BEAGLE that tells a story of monsters, romance, and magical hijinks! The first arc also includes an additional short story with artist KATE LETH!
Fantasy creatures are living typical, unremarkable lives alongside humans, and barista Julie strives to be the most unremarkable of all. Normal job, normal almost-girlfriend, normal…werewolf transformations that happen when she gets upset? Yikes!
But all bets are off when she and her centaur best friend Chet find themselves in the middle of a magical conspiracy. Will Julie and Chet be able to save their friends? Is Julie’s dogged determination to be normal a lost cause? Who’s going to watch the coffee shop while our heroes are out saving the world?? These questions and more will be answered in MOONSTRUCK, coming July 19 from Image Comics.

archiveofourown.org
Napi, walking the trenches - killing_rose - Wonder Woman (2017) [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Chapters: 1/1
Fandom: Wonder Woman (2017)
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Chief (Wonder Woman)
Additional Tags: Native story telling, Blackfoot origin stories, Tricksters
Summary:

The story they tell on the reservation, about Chief, and Diana, and the War to End All Wars at the dawn of another war.

(From the author’s note: “As a Native storyteller, the moment Chief introduced himself as Napi, I was beside myself with glee. He literally introduces himself as the Blackfoot demigod of storytelling, a trickster who created the world. […] if you take him literally, that means Diana wasn’t the only demigod on that battlefield, and since this wouldn’t have been his war (not even a little, as the movie itself points out), why was he there? So I’ve spent the entire time since then trying to wrangle that answer into a story.”)

It’s Wednesday, which means it’s Crying About STAR WARS Time and I love that apparently it’s a never-ending font of things to cry about in the GFFA. But, hey, at least sometimes it’s crying in a good way? So, here, come cry some more with me about these space monks with their laser swords.

STAR WARS FIC RECS:
House of Cards by Smitty, obi-wan & anakin & oc, 23.8k
   Just when Obi-Wan thinks he has life figured out, a shadowy bounty hunter proves him wrong.
The Exchange by MissLearn, obi-wan & anakin & ahsoka & qui-gon & mace & rex & cast, 31.2k wip
   The Daughter has a bad day and it irrevocably changes the fate of the galaxy, twice over. Or; ROTS Obi-Wan and Anakin are swapped with their younger, TPM, selves. It changes things, in both parallels.
Obikin Ficlet: Exotic Dancer AU by writegowrite, obi-wan/anakin, imperial!obi-wan, 1k
   Prompt: “Exotic dancer!Anakin giving a private dance to sith lord!imperial general!Obi-Wan and they haven’t seen each other in 6 months. They missed each other and Obi-Wan just wants to touch Anakin but Anakin won’t let him.”
Clarity by anecdotalist, obi-wan/anakin & anakin/padme & ahsoka & cast,
   Anakin’s jealousy leads to the start of something new between him and Obi-Wan and a lot of frank discussions about things they should have talked about but didn’t in canon.
Do Not Go Gentle by Glare, obi-wan/anakin, a/b/o, 4.8k wip
   Anakin Skywalker is only six months into his Jedi training when he goes missing on a mission, bringing his Master’s life crashing down.
untitled by gaealynn, obi-wan/anakin, mild bondage, 1.9k
   I propose – an Obi-Wan who indulges one of Anakin’s tantrums and is startled to find that he, ah, doesn’t quite mind letting Anakin tie him up and dote on him; and an Anakin who is over the moon at being allowed to do so.
Tano and Kenobi by FireflyFish, obi-wan & ahsoka & cast, 54.3k wip
   Master Skywalker always said “The Force works in mysterious ways” and Ahsoka Tano has to admit, getting thrown backwards in time by about forty years was very mysterious. Now she just needs to figure how to get back home and how to get Master Qui-Gon Jinn to take Senior Initiate Obi-Wan Kenobi as a Padawan before the young boy is shipped off to Bandomeer to take up the quiet life of a farmer. Of course, that’s assuming she doesn’t take him as her Padawan first…
Choices by writegowrite, obi-wan & krell, sith!obi-wan, ~1k
   The path to the dark was easier than Obi-Wan had ever thought it could be.
Reunion by writegowrite, obi-wan/anakin, ~1k
   It has been nine minutes since Darth Vader arrived on the Rebel reconnaissance ship.
Lights Will Guide You Home by darlingargents, obi-wan/padme & potential obi-wan/anakin/padme & luke/ezra & leia & ahsoka & cast, 27.3k wip
   Obi-Wan knew that if he didn’t leave now, Padmé would die. And so he made his decision.
untitled by silvergryphon, leia & mace, 1.7k
   Everyone expected Leia to follow in her mother’s footsteps.
untitled by stonefreeak, padme & background anakin/padme, 1.2k
   Padmé stares at the clock on her bedside table. She knows it’s time to get up and get ready to face the day, but she… She doesn’t want to.
untitled by lurkingcrow, obi-wan & luke, 1.2k
   Obi-Wan braces against the bulkhead as yet another refugee pushes past him, attention focused upon the growing food line rather than the bedraggled figure hunched over his precious cargo.
untitled by fireflyfish, obi-wan/anakin & cast, pirate!obi-wan, 1.9k
   All things considered, Darth Vader was taking the news of growing pirate fleet surprisingly well, thought Lieutenant Piett as he followed after the towering, black-suited menace.

full details + recs under the cut!

Keep reading

“Ofglen had urges that led her to do unnatural things. I’m sure, to her, it felt like love. In cases such as these, the punishment is death. But, out of respect for her position, we let her live. We’re not without compassion.”

“What did you do to her?”

“We saved her. We had a doctor take care of the problem. It’s such a small problem, truth be told.”

There are many moments in the theocratic-fascist dystopian future setting of Margaret Atwood’s The Handmaid’s Tale in which characters use certain words or phrases from today in a way that’s clearly meant to show how not-so-implausible and not-so-far-off that future is.

We as readers are encouraged to reflect on how many people there are in the real world, right now, who think the way that the people in the novel’s fictional universe do.

The character Serena Joy’s remark about returning to “traditional values” is an oft-cited example of this.

Hulu’s miniseries adaptation of the novel adds quite a few of these. The quote above is the one that has stuck with me the most, partially because of its use of the word “unnatural” and the phrase “I’m sure, to her, it felt like love,” but especially because of its use of the word “compassion.”

When someone does something cruel and harmful to someone else, any empathetic person with a conscience will presumably be bothered by it.

But when someone does something cruel and harmful to someone else while saying that they’re doing it out of compassion, that’s especially disturbing.

This is a general principle that can apply to a variety of situations—people usually want to think of themselves as good people who are doing the right thing, even when they’re committing atrocities—but it’s especially common among fundamentalist evangelicals, specifically when they’re talking about LGBTQ people and even more specifically when they’re talking about conversion/reparative/ex-gay “therapy.”

The fact that the subject of the conversation quoted above is a lesbian who was the victim of genital mutilation on the part of a fundamentalist christian theocracy with the intention of ameliorating her “urges” is not, I don’t think, a coincidence.

In the same way that the Commander tries to justify the genital mutilation of Emily (“Ofglen”) as an act of compassion, evangelicals across America have put their children through the abusive psychological and spiritual torture that is conversion “therapy” and also tried to justify that as compassionate.

In both cases, the perpetrators believe that same-gender attraction and relationships are a kind of immoral illness and that the only way to be a happy and morally good person is to be heterosexual, so they conclude that whatever torture, abuse, and trauma has to be endured to supposedly get to that end goal is worth it.

More broadly, fundamentalist evangelicals believe that they can say and do all kinds of awful things to people, so long as those things are said or done with the end goal of converting those people and getting them into heaven. To them, the ends justify the means.

So you end up with this sort of shallow, meaningless pseudo-compassion.

Think of how many times you’ve heard an evangelical say, “It’s not that I hate them. I have compassion for the homosexuals. But…”

There’s always a but.

“It’s because I love gay people that I tell them that a fundamental part of who they are and how they experience love is inherently disgusting and immoral. My heart breaks for them, really. Can’t you tell how much I care about those depraved perverts?”

Ultimately, no matter how hard you try to get around it, no matter what your personal feelings are about it, the belief that someone is lesser-than, defective, or ill—that there’s something inherently wrong with them—will eventually lead to oppression and violence against them. Always, without fail.

And that isn’t some sort of abstract hypothetical. It happens in the real world every day. That’s one of the reasons why The Handmaid’s Tale is so disturbing.

The addition of Emily’s sexual orientation and subsequent “punishment” made it even more so.

It was one of the few examples I can think of in which such an addition improved a story rather than cheapening or detracting from it.

Book-to-film/television adaptations are often rightly derided for having ruined their stories with unnecessary changes. That is not the case here.