also the context of the scene for those who don't know:

anonymous asked:

Do you have any advice for critiquing a friend's writing? I don't want to discourage their enthusiasm, I think I may just be in a negative mindset but I can't think of much positive feedback. They have a lot they need to work on, and I want to help, I just don't know how to do it without coming accross shitty. I feel like I'm very lacking in my critiquing ability and I won't be able to help them the way they need to grow, but neither of us know anyone else who could help.

Hey, anon! I have a few suggestions, so bear with me for a slightly longer response than usual!

Originally posted by veryfunstuff

First, I want to say that it’s okay not to give your friend critiques, especially if you don’t feel comfortable doing it! Stick to positive feedback (I have a few ideas for that!) until you come across something you feel comfortable suggesting to them. I have a few friends who I tell, “Look, I’m not going to critique you. I can give you a suggestion and totally be excited for what you write, of course, but I don’t think my way of critiquing is going to help you.”

It’s better to be honest up front rather than try to tell them what they want to hear!

1) What is positive feedback? Positive feedback is anything that you like about someone’s story. It doesn’t have to be the way it was written! Maybe you like the plot, maybe you like the characters, maybe they did description particularly well! Just because someone’s writing skill level isn’t as high as they’d like doesn’t mean there’s nothing good about their work!

“Oh, I like the setting a lot. The tall, red brick buildings are perfect for the apocalyptic thing you’ve got going on.”

“I really like how brave Character A is! It takes a lot to stand up to Character B.”

“I love Sci-fi, so I was really excited to see your story going in that direction!”

“This sentence here, the one about X, I really like this turn of phrase!”

These are all examples of positive feedback! There are so many layers in story-telling, there’s always something good to comment on! 

2) Use AND not BUT.  A lot of times, “but” can feel invalidating. “I really liked X, but y needs work.” That makes the author feel like all the reader will see is Y. They totally miss out on how great X is! Think of it as improv! You can’t keep building the scene (or story!) without “and!” 

“I really like X and I feel like the reader will feel it even more if Y really focuses on…”

“You’ve got the beginnings of a great character here and I think you can continue that by adding a flashback or something similar.”

“I love the direction this is taking and think it’ll really bring it all together if you vary your sentence structure here…”

You’re working with the writer to bring their story to life, you’re not judging their writing. When I started thinking about it like improv, I actually improved my relationships with my writing friends because they knew I was on their side!

3) There’s a lot to fix. The simple truth of the matter is that the only way to get better at writing is to read, write, and edit. There’s no way around that! So don’t try to make a new writer’s work look like Hemingway, it takes forever and it’s super discouraging!

Try to offer two suggestions per piece someone shows you! (The number of suggestions will be up to you, but for new writers, I’d suggest two!) Try to make each suggestion different. Maybe one will be about sentence structure and another will be about pacing. Or one could be about characterization and another could be keeping an eye out for dialogue formatting!

There’s nothing wrong with having a lot to work on and as much as we’d all love to tackle every problem at once, we can’t! So just giving a few suggestions until next time is much better since it lets the author just focus on those in edits!

It also helps to give the author context for your suggestions. 

“I think this needs to be slower, but that’s based on my personal taste.”

 “This sounds awkward to me and I don’t know why. I really liked how this author did it in their book. Maybe take a look when you have time for ideas?”

“I’m having trouble with this too! Recently I’ve tried X, Y, and Z. Maybe you could try?”

4) What are they asking? If you don’t know where to start with suggestions, ask them! Ask them if they want you to pay attention to this character or pacing or description. Writers will, a lot of the time, already know what they’re struggling with or what they want to work on next. Ask for parameters so that you’re both on the same page in the critique!

“Could you keep an eye out for awkward phrasing?”


“And also, Character A is supposed to be angry with Character B. If you have any suggestions on how to show that, please let me know.”

“Of course!”

It’s also the writer’s job to work with you, especially if you’re friends! 

5) Who else can help? That sucks that there aren’t many writers around you! I’d try Scribophile (X) if you’d like some reviews from strangers! It’s a site I use fairly often!

Hope this helps anon! If you have any other questions, feel free to ask!

anonymous asked:

Who do you think is responsible for the censorship of sanvers, the writers or the CW? I'm inclined to believe it's the latter. I feel like this is probably standard practice for various networks with "family" shows, but I'm seeing a lot of anger directed towards the writers specifically, and I don't know if it is the most productive thing. Not that the writers shouldn't be criticized for other things.


[this got very long]

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‘I Love You’: a man’s perspective

I haven’t made the rounds yet this morning, but already last night I’ve seen multiple posts that seem to want to either downgrade or erase the meaning behind Sherlock’s words to Molly Hooper. I find it insanely amusing, because had those words been to John Watson, people would be wetting themselves, but because it was for Molly, people are climbing all over themselves to again deny this character her actual fair due.

My husband, who watches Sherlock with me, had some very interesting perspectives on The Final Problem. He tends to read the show textually, without shipping or all the other nonsense we as fandom people get into.  I tend to trust what he says only because he has no ulterior motives, like zero. Even my own ship doesn’t really mean a damn thing to him. He knows I love it, but he’s not swayed by my reading or my desires at all.  

His reading of The Final Problem was that this was Eurus effectively unlocking the original Sherlock Holmes.  This was Sherlock’s sister, bringing him home, just as he was bringing her home.  To do that, she had to undo what she did when she took Victor Trevor away from him at that young age.  She took a little boy who was filled with bright, wonderful, hot emotion, and she made him lock that away.  She made him like her, and to my husband, it seemed like that was never what Eurus wanted.  

The scenes inside Sherrinford were about systematically making Sherlock face each single, major emotion that he’s refused to feel all these years: anger, fear, sadness, and above all…love.  And no, I don’t mean love for your best friend, that’s already been addressed, and that was already the easiest thing for Sherlock to unlock in himself. He basically did that in S1.  Sherlock loves John, his best friend, just like he loved Victor.  The parallels are spelled out for you in the clearest of ways.  

Sherlock’s locking away of his ‘sexuality’ was already broken open in S2 with Belgravia.  Irene Adler represented a part of Sherlock that really, really wanted out.  It was confusing as hell for him, as we saw, but he still managed to deal with it.  Sex is sex is sex.  It’s meaningful, and at the same time, can also be meaningless.  I personally never saw Irene as meaningless, far from it.  But I do think her special place in Sherlock’s “unlocking” was more physical than emotional.  Hence, we were reminded of this by the moan of her text tone. I personally think Sherlock’s sexuality is firmly unlocked at this point, no need to revisit it again and again.  Something that remained hidden though, very deep down, was Sherlock’s ability, willingness and understanding of a deeper love, and what that means.  This is where Eurus comes in.

The scene with the coffin was very carefully done, both by the writers and on the part of Eurus’ planning.  In fact, if you listen carefully to Eurus’ words, she states exactly why she did it: you lost, look what you did to her, look what you did to yourself, all those complicated, complex emotions, emotional context.  All of those things are things people feel when they love someone (romantic love, since I’m sure I need to spell it out for some viewers).  You feel elated, but you also feel scared.  You may also hate yourself because you probably feel the person you love deserves BETTER than you.  Should you act on it or let them go find someone better.  Do you have the strength to give up parts of yourself for them?  Do they have the strength to give up parts of themselves for you?  It’s scary as hell, y’all!!

 My hub says, to him, the first time Sherlock says ‘I love you’ to Molly Hooper, he didn’t mean it…or at least Sherlock thinks he didn’t mean it. Then, the second time, he did mean it, and he knows it.  That is why he smashed the coffin…that was perhaps the biggest emotion he’d locked away, and he was consumed and confused by it.  For a man who has spent decades pushing love away, it came roaring in within 3 minutes, and he couldn’t push it away. Eurus wouldn’t let him push it away, and more importantly, Molly Hooper wouldn’t let him push it away. That’s why she turned the tables on him and made him say it first.  She inadvertently helped Eurus, which I’m sure was her plan all along (if you believe she’s as much of a supernatural badass as she’s shown to be).

My husband’s purely textual reading of Sherlock’s smashing the coffin with ‘I love you’ on it is that he DID mean it, but he wasn’t sure what that meant to him, and it scares him, greatly.  He said that looked like a man who was pissed that he LOVES.  He spent his entire life working at not loving, and here he is, loving this woman, but now he isn’t sure what to do about it, because he’s not even sure what that really means.  He doesn’t understand it…yet.  Love like that is incredibly strong, true love I mean, not “Hey let’s bone” love.  He said that wasn’t the actions of a man who doesn’t really care.  He said, as a man, if I had to get a woman to say that and I didn’t really love her, I wouldn’t care as much.  I surely wouldn’t care enough to smash an entire coffin to bits with my bear hands.

Lastly, my husband said something I thought was incredibly interesting about how he reads Sherlock.  He said he thinks the reason Sherlock hasn’t really pursued any other relationships with women, not seriously that is, is that on some level he really knew he loved Molly, but that he felt HE wasn’t good enough for HER.  He thinks Sherlock, for all of his arrogance, actually doesn’t think he’s a good man.  He knows Molly Hooper deserves a good man, someone to love her exactly how he thinks she should be loved, and he’s terrified he ISNT that man, or he CANT be that man.  His rage at smashing that coffin was basically anger at himself, anger at himself for loving this woman who really deserves more.

So, from a man who views this show with as much pure text as possible, he thinks that “I Love You” was real, but he thinks Sherlock simply doesn’t know what to do with it, doesn’t know what it means.  He said love is the scariest thing, especially to someone who’s lived closed off.  He’s had an upbringing that, without going into details, was a bit devoid of emotional support from people he needed it from. That means that learning how to show love was incredibly, incredibly difficult for him.  Trust me, I’ve been here for the entire thing.  It took years for him to learn how to show it.  It took me years too…in fact I still have massive trouble with it. People who’ve lived not understanding how to love since young childhood…it takes us a very long time to learn how to do it.  

My husband and I are not the kind of people who go on romantic ballroom dancing dates and snuggle on the Tunnel of Love ride.  We’re just not those kind of people…but we do love each other very much.  We have our way of showing it that works for us. There’s no one else I’d rather trust my mind, body and soul to.  That was first built on friendship, then trust, then love.  For us, I think that’s kind of where Sherlock is starting to head.  We may not ever see that adventure, as that’s not what Sherlock’s story was about.  But, finding how to love, that was his story, and Molly Hooper is an irreplaceable part of that.  No one can deny that, not ever.

anonymous asked:

Hi! I don't know if this's been asked before, but who do you think are the canonically gay characters in SnK?

Hi anon! :)

First of all I’d like to preface that post by saying homosexuality in Japan is more of a private matter and a taboo than anything else: it’s not the topic you can out to the wide audience. As such, you’re never going to hear Isayama declare explicitly characters to have a preference for the same gender.

What’s nice is Isayama giving us LGBT characters who aren’t drawn from offensive cliches: they feel real. On top of that, the SnK universe isn’t set to appeal to romance, so you can leave certain bounds undeveloped, because any ship who has the potential to be endgame has one of its components killed off, sometimes in the most brutal way.

Short addendum: Mangakas can’t simply put LGBT characters in their series, because the staff still holds some authority over them, leading mangas like another series from Bessatsu for a gay kiss to be cancelled in some cases. It’s already exceptional Isayama manages to put LGBT characters who don’t look like complete caricatures and is actually fond of same-gender relationships.

About your ask, there’s canonically three confirmed gay characters in SnK: Reiner, Ymir and Levi.

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anonymous asked:

What are your thoughts on the musical episode? Are you excited? Don't really care? Think will be a huge mess?

I am so stoked! I am adamantly calling it Once Upon a Time with Feeling until the title is released. I don’t care if it’s potentially blasphemous - even if in all my optimism, I know them reaching Buffy levels is probably unlikely.

So here’s what happened. I thought a musical wouldn’t really work for Once Upon a Time and I was very skeptical about the idea… then the announcement came and well. I was giddy and unexpectedly over-the-top ridiculously happy about it? I should have known. I’m a total dork. I love musical. I saw Wicked three times in two days once. My favorite movie - I claim it’s Dogville, but it’s really Sister Act. I read the book that turned into Pitch Perfect. I keep hoping to just one day in my life wake up and find we’re doing everything in song. So okay, maybe I’m… unique.

Since it’s happening and not everyone’s happy about it, let’s look at potential bright sides? At the very least, we’re going to get to hear the actors sing. Cast has some really nice voices! It might be beautiful or cute or unexpected. At the very least it’ll be silly and funny to have this weirdo Disney fairy tale world with costumes and dancing and bursting into song. If you go into it just expecting to get some laughs out of it, I doubt you’ll be disappointed. We may have to loosen up a little. Sometimes you go into an episode and you’re just left… not feeling much of anything. This time. Love it, hate it. Cringing, laughing, feeling. Everybody’s at least gonna have some very strong feelings about it!

Where it gets more interesting is that it’s potentially - of course what else would I say - good news for Emma and Regina. Rule number one for musicals - as in, first chapter in Musicals for Dummies 101 - is that you have to give your characters a reason to burst into song. Musicals give insight into how characters are feeling, they voice emotions in a way that normally doesn’t happen and your story has to fit that concept. Part of the success of Buffy’s “Once More With Feeling” was that apart from the catchy songs and great delivery, lyrics, direction and very good balance of humor and drama, it was an explosive episode that really drove the plot forward. They built the episode around this concept. If you haven’t seen it, basically a dancing demon forces all of the characters to randomly burst into song. One by one they reveal secrets as they are singing. Either to each other, or to the audience.

We’re currently in the land of Untold stories. It’s been heavily suggested all of our main characters are keeping secrets. If there was an episode to get into their heads and reveal some of those stories they don’t want told, this would be the one.

Now the reason I am maybe most stoked about it, is that it fits completely with @colyssa ‘s Women Who Run With the Wolves meta, and more specifically this part of it and this submission she received recently. As she says, there is no way they did not use this book. I’ve started reading recently and I completely agree. Without even getting into the content too much, there’s the title, which… actually happens on the show in the episode when Ruby finds her mother.

The first chapter is literally a scene in the pilot.

The sixth chapter is a recurring theme.

The fifth chapter shares its title almost to the letter with the 7th episode of Once Upon a Time. Incidentally it’s also the chapter that completely matches Emma and Regina’s story. The author uses a tale called the Skeleton woman as a guideline to explain what it requires to enter in a relationship with someone. You’ll have to read Colyssa’s meta for the details, but the part we are interested in is this one.

“Then, while lying beside him, she reached inside the sleeping man and took out his heart, the mighty drum. She sat up and banged on both sides of it: Bom, BommI… Bom, Bomm!

As she drummed, she began to sing out “Flesh, flesh, flesh! Flesh, flesh, flesh!” And the more she sang, the more her body filled out With flesh. She sang for hair and good eyes and nice fat hands. She sang the divide between her legs, and breasts long enough to wrap for warmth, and all the things a woman needs.

And when she was done, she also sang the sleeping man’s clothes off and crept into his bed with him, skin against skin. She returned the great drum, his heart, to his body, and that is how they awakened, wrapped one around the other, tangled from their night together, in another way now, a good and lasting way.”

Might sound a little weird out of context, but once you read the explanation, it makes sense. Hearts being taken of chests is already standard practice on Once and the references to music here are obvious. It’s also in sync with this myth, because the part before this one focuses on a tear, which we saw represented last season.

So when looking at it this way, suddenly the musical episode - while undoubtedly frivolous in its execution, is crucial and may have been planned for a long time. Or at the very least, they knew that if there was going to be a musical episode, this would be the time for it and that’s why they couldn’t confirm before reaching season 6. It seemed sudden and unplanned, but it probably isn’t.

To end, a summary of the seven steps - fitting a show going for seven seasons - from the book so it’s more clear where we are at and how the musical fits in the development of Emma and Regina’s relationship..

While the Skeleton Woman could be interpreted as representing the movements within a single psyche, I find this tale most valuable when understood as a series of seven tasks that teach one soul to love another deeply and well. These are: discovering another person as a kind of spiritual treasure, even though one may not at first realize what one has found. Next in most love relationships comes the chase and the hiding, a time of hopes and fears for both. Then comes the untangling and understanding of the Life/Death/Life aspects of the relationship and the development of compassion for the task. Next come the relaxing into trust, the ability to rest in the presence and goodwill of the other, and after that, a time of sharing both future dreams and past sadness, these being the beginning of healing archaic wounds with regard to love. Then, the use of the heart to sing up new life, and finally, the intermingling of body and soul.

If you’re not into musicals, but you wouldn’t exactly mind Emma and Regina going beyond the platonic, I’d say take a look at what comes after singing up new life and you may want to just hang in there…

isatastrophe  asked:

ahhh, do levihan for the ask! :) (you don't have to if you don't want to though :P)

Oh honey, I would NEVER refuse Levihan! (Sorry this took so long because ughhhhh…college entrance exams….-_-)



Originally posted by sajoou

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anonymous asked:

Hello there! I don't know if this was discussed yet....but do you think Sangwoo thinks of Bum as a plaything? I love to hear your thoughts ;)

Hi love! 

So no, this definitely hasn’t been asked directly, but I love diving into the way Sangwoo thinks and this is a really lovely question to ask, so thank you!

On the one hand, I absolutely think Sangwoo absolutely thinks Bum is a plaything. But, I don’t think that Sangwoo thinks that’s Bum is his plaything.

We don’t have a lot of context for how Sangwoo treats other people. But from what we have seen, they certainly don’t amount to much. I mean… he’s a murderer so the value of human life to him is very little. 

But we also know for a fact that Bum is extremely valuable to Sangwoo. No matter what your opinion on them as a “couple,” at this point in time I would argue there is almost nothing and certainly no one Sangwoo holds with more value that Bum. Mostly because, other than himself, Sangwoo really doesn’t value much else at all (think the scene where Bum tries to seduce him before being hanged when Sangwoo admits that there is nothing he wants). 

But we also know that Sangwoo loves to fuck with Bum.

I recently re-read some of those earlier chapters, when Sangwoo was acting the most “out of character” circa 4-6. I’m fairly convinced now that Sangwoo was actually in the process of seducing and murdering Bum like he would any of his other victims, including the CEO’s daughter and even Jieun. 

Sangwoo is SO SWEET to Bum, that even Bum remarks that it was almost like Sangwoo had a twin. This Sangwoo we see in these chapters is so inconsistent with how we see Sangwoo in later chapters - specifically the most recent chapters where he considers himself in a relationship with Bum and is essentially no-holds-barred with him. He’s acting like he acting with Jieun. Charming, charismatic - essentially presenting a version of himself he knows his victim is mostly keen to respond to. He’s definitely drawing out the seduction and subsequent murder,but he becomes dependent on the way that Bum makes him feel. Which is why he decided to “test” him in the first place. But he’s still playing with Bum. Seeing how far he can push this relationship with a victim who’s so smitten with him, and who continues to love him despite knowing his secrets. And I think with each test, Bum is passing just so that Sangwoo can’t help but become attached.

For example, I still don’t think Bum was in any real danger in the chapters with the man from the bar, but I do think Sangwoo was at his most “Bum is my plaything” mentality in those chapters.

It’s legitimately not until Sangwoo believes he’s lost Bum do things really take a turn and he takes the relationship seriously, with thoughts Bum as another one of his victims pretty much non-existent.

And of course, with the most recent chapters, it sort of comes back to what I was saying initially. Sangwoo values Bum more than anything, but Sangwoo is very similar to a child who loves his favorite toy - where they eat, sleep, bathe and live with it - play with it until it crumbles and only after it breaks do they realize how much that toy meant to them.

Sangwoo is taking what he has with Bum very seriously. But he is absolutely incapable of ever treating any human or anything of value with the care they actually deserve as a basic human being.

DOES THIS MAKE SENSE? I was drunk for like half of this brain vomit.

anonymous asked:

Hello Agent85!! ^^ Just saw the ep... That arc is way too long... and it makes less and less sense. I really can't stand it anymore! The framework is supposed to be a copy of our world and for some reason now the laws of physics and basic biology don't apply anymore ? Fitz is a scientist! how the hell does aida's survival make any sense to him!? (and that stupid nazi youth hair...) Then, where is Jemma's smartness? and what is she doing? This all world is fake and she knows it! (1)

(2) so why would she think even for a second that the machine would be in this fake world ? I didn’t buy it at all. And still no Fitzsimmons… all the aidaxfitz’s PDA are beyond disgusting. urgh! And finally in what universe did someone find it a good idea to give Ward any kind of redemption arc? :/ Sorry it’s not very joyful but I’m so tired of it all… Anyway thanks Jane! You’re amazing! and only your light cheer me up lately. <3

Hey there!

This arc is wearing me out, too. Not to say that there aren’t things I like about it, but I just love Fitz so much and it’s really hard for me to see him like this. I know they’re doing it for plot reasons, but they drew a lot of things out during season 3 that I did not like very much, either.

But I had the opposite reaction to this last episode! Everything makes a lot MORE sense to me now. We know what AIDA’s goal is, and again, I just cannot believe that I missed what this is all about: the parameters. It’s SO OBVIOUS, looking back, since there was so much set up for it. Here I was, thinking that AIDA would just want to stay in her little dictatorship forever, when it’s clear that she has even greater ambitions. After all, what dictator wants to be limited as to whom they can murder?

Regarding the things that don’t make sense, namely AIDA’s fall: as I’ve said before, I believe that’s intentional. If they wanted to fudge it, it would have been two or three stories. She was FIFTY stories up, maybe more. You don’t need to know anything about medicine to know she would go splat. It’s obvious.

And, as we know, when people die in the Framework, they die in real life. It’s a common sci-fi trope that I happen to love immensely. Usually, the idea is that since the person believes that they’re dying, and people are afraid of dying, they basically get scared to death. Or, you know, their body just gets tricked into reacting the way it would react if the scenario were real. But AIDA is not real, so there is no real body to react to her scenario. Only an android would be able to survive that fall.

But beyond that, this just shows how much control she has over her world. She cannot only survive the fall, but she has also managed to BRAINWASH everyone around her so much that they don’t realize what she’s just done. But of course, they don’t notice a LOT of things she’s done, like spend all her resources on a Real Girl Machine that benefits Hydra … how, exactly?

I know I keep saying they were BRAINWASHED, and I am going to keep saying it in all caps until people get it. There is an extreme degree of conditioning going on here meant to override morals, character traits, and anything that would get in AIDA’s way.

And how perfect is it that after this ridiculous fall, Bakshi arrives on the scene asking what story he should tell, only to be lied to by Fitz. Think about it: AIDA is lying about the nature of reality to Fitz, who lies to Bakshi, who lies to everyone. AIDA is peddling deception compounded on deception. They’re all different lies, of course, and all of the liars know that they are lying, but they are all designed to give AIDA everything she wants. So how, may I ask, can anyone find the truth if they are blinded to basic laws of decency? To basic laws of the natural world?

If Fitz, a genius engineer, can’t tell that AIDA is lying to him about his own area of expertise, how can he tell that she’s lying to him about everything else?

How can he recognize basic truths if he can’t recognize Jemma’s face?

So, AIDA’s impossible fall reemphasizes two important truths: AIDA is not a person, and AIDA has complete control. These were things we already knew, but now we see those truths working in a context, so we see just how dangerous they she truly is.

Another thing it does is give Jemma a foot in the door when she finally has the chance to confront Fitz on the nature of his reality. She now can appeal to him emotionally and scientifically. Daisy only had an emotional argument, and we can see that AIDA has used Papa Fitz to condition Fitz to reject emotion. But needed his scientific mind, so that remains intact. The fact that Jemma will be able to use this scientific argument, in addition to the fact that her emotional argument will be infinitely stronger because of their bond, makes me very optimistic that Jemma will be able to chip away at the walls Fitz has been programmed to put up.

But of course, there’s the caveat that they’ve set up perfect scenarios like this before and completely trashed them. We were all convinced that the necklace and Will’s stupid science background were clues to all kinds of things, but it just ended up being lazy writing. In this case, however, it seems a lot more deliberate, and I’m honestly hoping they’ve learned from their mistakes. They have to know how stupid that 3A was.

As for Jemma’s smarts, this is another plot reasons thing. I’ll be honest, I didn’t think that hard about it while I was watching, too blinded by the sunshine of Trip, so that didn’t seem that stupid to me. Jemma doesn’t just have to figure out what the solution is; she has to guide us viewers to the conclusion in an entertaining way. And revealing it the way she did was way more dramatic. It’s a trope that’s been done a thousand times because so many people love it.

Still, I was upset, like you are, about the lack of FitzSimmons. Jemma should have tried to get to him during this episode, even if nobody would let her. They haven’t been together in this arc, but they have been talking about each other. (Which, by the way, is basically the only prediction I’ve gotten right so far.) We’ve gotten Jemma’s confession of love to Ward, which is HUGE. 

Jemma didn’t outright tell Fitz she was ready to have a relationship; she said they were wasting time by not being in a relationship. She didn’t tell LMD Fitz that she wanted to marry Fitz; she only said she would give Fitz the answer. She’s now comfortable with telling Fitz she loves him, but she doesn’t talk about it to other people, especially her enemies. And yet, she basically screamed it at Ward! I can’t express how important that is!

We have never seen Jemma be that blunt about her feelings before. Never. 

With Fitz, we’re seeing something very different—how not to love somebody. Fitz and AIDA’s relationship is supposed to be repulsive. We are supposed to think that it’s wrong. After all, AIDA and Agnes, who share a face, are romantically linked to Fitz and Radcliffe, who have a father/son relationship. So, it’s not only evil and abusive—it’s a little incestuous. They are hitting all the bases here. It’s a stark contrast to the loving partnership of equals that sacrifices everything to save the world. In fact, a starker contrast could not exist, unless Jemma was romantically linked to a moron who told her to give up all the time. ;)  

But really, if this doesn’t convince you that FitzSimmons is the end all be all, nothing will.

As for Ward, I’m going to say the same thing I said about LMD Fitz: you can’t blame someone for something someone else did, just because that person has the same face. You can’t credit them, either. Framework Ward does nothing to redeem the real Grant Ward, because the real Grant Ward is dead. In fact, he died on an alien planet while trying to bring Hive into the world, right after he had Jemma tortured. He is, without a doubt, the absolute worst. Nothing that’s happening now can change that. 

In fact, if anything, it adds to his condemnation by showing just how good Ward could have been. Ward was a traitor, yes, but what if he betrayed evil instead of good? What if he actually loved Skye more than he wanted to survive? 

There was a time when we were hoping that Ward’s love for Skye would change him into something better, and now we’ve seen it happen. 

Framework Ward and Real Ward are a lot like FitzSimmons and Fitz x AIDA, actually. We see how good it could be, and we see how bad it can get. I find that incredibly interesting. I love all of the philosophical aspects of this arc.

So, I know that this arc has been hard, but hopefully that clarifies things a little. I’m hoping that we’ve reached the very bottom, and it’s all uphill from here. After all, this is the point where Jemma HAS to go after Fitz, at all costs, for plot reasons. I’m really hoping that we will start to get our reward as early as next Tuesday. 

All we can hope is that they don’t mess it up!

So, thank you so much for your kind words! I hope I was able to cheer you up a bit. <3

anonymous asked:

hey so I really like the Hamilton soundtrack and I'd love to be a bigger part of the fan base but I don't think I'll be able to see it any time soon considering tickets are sold out for the next 6 months. do you know how I could learn more about the show or get to see more of it so I can enjoy all these posts and stuff about it? bc right now I don't know anything about it

hello, friend! without knowing your background/context, here’s a bunch of info that you might already know: both about the show & keeping up with the current culture around the show. in the interest of being actually a consumable volume, this is a non-completionist highlights anthology. (also, disclaimer: I am not very involved in Broadway fandom, so I’m sure there’s particularly a lot out there fandom-wise that I’m missing!) without further ado, under the read-more

(UPDATED 10/8: squad)

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Don't Forget, Pt. 1

Originally posted by colorfulbts

Summary: “It is okay if you do not remember me, I can do the remembering. But in a world where I hold absolutely no place in your life, not even as the girl who knew your name before your face, I think it would be a place too cruel to live in.

Characters: Jungkook, (she/her) Reader, Taehyung

Tags: Angst, romance, food for thought

Memo (Prologue), Pt. 2, Pt. 3

Dreams have always ensnared you.

You would become a prisoner to the unconscious ventures that never dared make themselves known outside the confines of an alternate reality. Dreams to you were exactly that- an experience that was otherworldly, one that was an outlier to the life you lived here.

It was from a young age that you recognized dreaming meant something entirely different to you than it did to your peers. To them, dreams involved fantastically impossible occurrences like sausages with four legs (a literal sausage dog!), or something more plausible yet still equally unattainable as marrying the student one had a crush on but never once spoke to.

Your dreams were always platonic. It illustrated what appeared to be an ordinary day in life, except the life was not entirely yours. You would see the few same faces, in contexts you’ve never been in, yet still convincing enough for you to believe it could happen. Things were always real, but also always slightly altered. One too many times you wondered if these dreams could be another person’s life in a parallel universe.

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About “punk´s not white”

I never imagined I would ever have to give an explanation of why the “Punk´s Not White” sticker set I did is NOT a declaration against the existence of white punks neither I’m stating that punk belongs only to POC or anything like it (though it is a spit in the face to straight white male culture replication in any scene or context). But I´ve been receiving a bunch of stupid anon messages in my inbox which I didn´t want to answer or pay attention to cause they have no point to even discuss… but there´s a limit to stupidity and racist bullshit. 

This sticker set is about a sense of pride to POC in punk, a way to make visible something not usually mentioned and most of all something I feel is important and beautiful, even more on this internet times, and this is why I chose to draw it. It makes me happy always to see how punk is adopted worldwide, most surely full of stupidity, problems, discussions and so as it almost always does, but with its infinite unexplainable power. Im not trying to be “demagogic”. Im not fighting white punx (except those writing dumb anons).

 If you can´t get that in the phrase “Punk´s Not White”  I’m being allegoric to the phrase “Punk´s Not Dead”, there´s seriously something wrong with you and the punk knowledge you claim. It´s not my will to write “Punks Not ONLY White” or “Punk May be Shared by People of all Races” or “Punk is of all Colors and Shapes and Genders and Sexualities” or any other statement because I believe it is IMPLICIT, or at least I thought so, but it seems it offended some white proud punks out there not to be included once (cant wait for macho punx asking for an explanation why I draw girls only so I can be writing a whole message talking about my personal feelings on gender and sex, my relation to feminity and a bunch of boring explanations). Writing any other statement on the stickers just won´t fit the idea because it is just not what I wanted it to sound or look like (though you may go ahead and do your own paraghraph-long stickers you owners of the DIY culture). 

I know there’s amazing people doing awesome things in punk ALL around the world today, I know there’s great people, talented people in many places, and I´d like to know more than I do, whether they´re white, brown, ruby red, olive green, self-poisoning purple, pastel pink, or jet black . I don’t need Wikipedia cut/paste articles being sent to me telling me punk is supposed to be created by white people 40 years ago, I don´t really mind, great that they did, hurray! for your punk ancestors, I probably like a bunch too. But It´s been a long way since then. By the way if we´re going to discuss history take a look to what was going on by that time in other places, dressing as trash and making loud music was not even an option for the youth world wide, and though, it happened, there are plenty of great pre-punk sounds and ideas here and there, but that is not the point…  I don´t need whitepunx telling me I´m a “poser emo” because “you’ve probably never seen a real band live”, what the hell is a real band? what kind of kinder-crust offense is that? Glad you don´t have to get the stupid VISA to go anywhere, and the lot of money it costs.  I don't even mind cause I dont even like to go much to shows anymore, I´d like to do many other things if I get to visit your land, and also, there are great unknown bands and punk scenes everywhere, though it´s not music that makes punk to me. But Im not going to go longer into personal issues cause it´ll take me forever to try and explain, even to me, what and why I am, feel or do this. as an individual and as a part of a bigger group. I understand things might have different contexts depending on where they are placed, but the idea is global. And thanks a LOT to all people who´ve supported my work and who sympathize and empathize on this drawings and on so many others. 

So beyond all this stupid issue I just make the point that punk is Not white, but the most of all: PUNK´S NOT STUPID, so leave all that eager to fight to make your point about your own self-righteousness. We´re all struggling here with ourselves and our lives and minds but we can make it easier by understanding rather than showing off…

anonymous asked:

I JUST REALIZED there's backseat Impala subtext this season!! In episode 1 we see Mary checking out the backseat, thinking about John and her ~doin stuff~ and Dean realized that while Cas was left confused. Idk if Dean ever told Cas what it meant, but now there's more backseat storyline stuff what with Dean choosing to stay in the backseat with Cas in episode 9, and some of us already think there was some sort of hand-holding or longing there. I don't know what to make of this!


I guess what we always make of it: a great big Destiel subtext pie :P

Do we need 3 times to prove the rule? I remember after 12x08 there was some joking about how Cas was in the backseat just on principle that it was suggesting something, in a way, referring back to that moment and Dean’s weird look at Cas :P But really not much on its own. This helps!

I mean, though, the back seat has been used a lot as a runner up trophy and Dabb made a huge deal out of who got to be shotgun back in 8x08 which I think is a really quick little thing that actually is a great key to unlocking a lot of interpersonal nonsense… Like, in season 8 context, how Sam feels about Cas, considering it all builds up to that confession from Sam at the end - looking at Sam shoving past Cas for shotgun and Dean getting to determine who is and isn’t shotgun with all that hindsight makes the shotgun joke in 8x08 ridiculously deep.

 And then 9x10, also Dabb, has the scrap over shotgun between Cas and Crowley, which ALSO when it’s all said and done, foreshadows the interpersonal dynamics of Cas vs the entire Drowley arc, especially with I think a sense that Dean sends Cas to sit in the back to watch Crowley because he’s TERRIFIED of Crowley still (there was an earlier moment in season 9 which shows this really well while they’re doing stuff with Crowley in the dungeon - maybe 9x04?) and Dean trusts Cas to look out for him… Cas isn’t being relegated to the back because Dean doesn’t like him, BUT that’s a misunderstanding that can exist (especially as Dean again takes over CAS’S car and starts dictating terms in it) and Cas feeling slighted or unwanted is like, a constant thing. (Ugh, poor Cas :P)… 

So there are a lot of politics there, and we were analysing stuff in 12x01 that Dean had Cas riding up front with him and Mary in the back at the end of the episode, because of how great THAT was for them, but then also in 12x03 we had Mary in the front seat and Sam crammed in the back clearly losing out on shotgun privileges, and I think Cas in 12x08 is also sort of more that when Sam and Dean are in the Impala, unless there’s Reasons, whoever else is riding with them goes in the back. (In 5x13, we have the humorous/tragic image of John driving, Mary in shotgun aka the stereotypical mom seat for families, and Sam and Dean in the back, like the kids on a road trip, and those dynamics mirrored. I swear there’s a “are we nearly there yet” somewhere in that scene :P)

(Actually, thinking of John driving, isn’t is a Thing that Sam never drove the car once in Baby, even if he got to use the backseat for, uh, work out purposes. Considering the episode was all about the car and so many people driving it, I guess that stands out… You know, if I remember that properly. I’m preeeetty tired :P)

Anyway… There’s a few different rules for the backseat and it’s always worth looking at what else is going on…

But yeah, Dean not taking over and driving whenever there’s a car is huge - it’s a sign of him giving up that control that he normally has even when it’s NOT his car (and the fact it’s Mary and her car, I think allows him to do that a bit? Like when he couldn’t argue that John drives the Impala - obviously John didn’t know Sam and Dean were his kids from the future, but symbolically that’s Dean giving up the driver’s seat to the no.1 authority figure in his life… It being Mary is I guess more about respect and deference not coming from having been brought up by  her like a drill sergeant like with John, but there’s still a fair amount of unpacking to do there, though I do think this season is SLOWLY working on it… Mary needs to take a fall in their eyes which I guess is up next for her?) … Where was I? Right. Dean n Cas holding hands in the back seat :P It’s good because more equal footing with Cas, accepting someone else driving and joining him back there, with all that history, is a nice sign of equality there, as well as DEAN giving up his negative behavioural traits to get there instead of making the world bend to him.

And it being Mary’s car, in 12x01 we got this reminder/almost outside eyes that the car HAD been Mary’s as much as anyone else’s - that she was just as fond of it as Dean is, talking to the car the same way. With its history and Dean looking at it with outside eyes, then having the realisation of the backseat’s history… It was something humanising Mary AND making it about her car, so there’s a nice link to what’s going on there, with Dean and Cas, to bring it round to the previous paragraph’s point too, of changing ideas of characters via backseats…

Aaand then there’s always Dean looking at Cas after the revelation and then back to Mary, which is honestly going to make its way up into some sort of personal top ten list for Destiel nonsense the longer I harp on it because it was such a bizarre set of reactions even if Dean might “just” be checking to see if Cas got it, there was a lot of discussion about Dean’s expression, WHY he thought to look at Cas at all, and how weirdly suggestive it was.

And now there’s a thing where, SIGNIFICANTLY, given Dean’s past form and the history of back seats being significant that I’ve briefly and not exhaustively laid out (oh - like Dean’s comment about having Anna and Ruby in the back of the car, or on the complete flip side, Sam stowing demon!Dean in the back of the car in 10x02 and that showing negatively Dean’s loss of control and I STILL haven’t gone over everything, like a step-by-step of 11x04 or something :P), we have Dean and Cas together in the back seat and… I mean, maybe it doesn’t mean much and it is just a nice moment where we have completely free reign to assume Dean grabbed Cas’s hand and gave it a squeeze and Cas rode the whole way to midnight totally confused and terrified but not complaining… Or I guess there is already a little foundation about the back of the seat being something we should look at and analyse this season and ask, really, what is going on here with them :P 

Tl;dr of this why did I even need to go so deep post… Given the circumstances with Dean thinking he’s dying, and the context of this season so far and its various little details about the backseat, Dean voluntarily gives up a position of control that he normally clings to for dear life, to spend his last few minutes sitting with Cas in the back seat - which had attention drawn to it this season I guess once to show Sam being shoved in there for losing out on shotgun to Mary’s assumedly eternal dibs, which does not seem applicable when this time it was Mary’s car already (making a brand new shotgun dynamic Sam apparently won this time?) BUT in the episode Dean seemed to have a very specific plan involving Cas that had nothing to do with their escape and everything to do with the emotional side of choosing to die… That leaves the coding of the backseat as, like, the “loveseat” of the car, which was a scene that had much louder attention drawn to it anyway… So apparently I just used maths to finish this meta?

(I am completely exhausted and probably should not be answering asks right now :P)

anonymous asked:

In curious why you don't ship Cloud with Tifa. I don't either but I've yet to figure out how to articulate why.

disclaimer: this is just my personal/biased/salty/shallow/whatever opinion. it’s not an attack on your preferences (because i sure have ships that don’t make sense or any sort of basis at all)

okay, having done with that… 

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anonymous asked:

Hello! Since we are on the topic of character development I wondered if you had any tips? I'm currently in the process of planning out a comic, I'm currently making the characters but I'm finding it difficult to put them together if you get what I mean. :') I don't want to do too much development and end up wasting time on pointless info but I would like there to be enough to have good compelling characters.

Hi anon! :D Sure I can try to help! I’m really simple so sorry in advance if I’m just reiterating a bunch of things you’re aware of. ;v;)

Anyway, I totally get what you mean about over-developing but, to be honest, in a way I feel like there can never be too much, if you know how to think about it..! You don’t want your character to get muddled up with tons of random, non-fitting details or anything but once you ultimately decide what your character’s personality is, then I think all the small details really add up and makes them a very lively character.

In terms of not making things random and non-fitting, you could use their likes/dislikes/hobbies to shape their personalities, build their character, and reinforce the types of decisions they make with them. For example:

Random, non-fitting: she’s a gentle gardener, her fav food is hearty beef stew, she enjoys watching violent movies

Less random, more fitting: she’s a gentle gardener, her fav food is veggie stuffed peppers, she enjoys quiet days on the beach

I’m not saying all your characters need a “theme” or anything and this is an exaggerated example but if you think about having a character’s interests define who they are, it seems a lot less like useless information and more like personality reinforcement. In the first case, that person can totally exist but none of those details plays up the fact that she’s a gentle gardener. In the second case, the things she enjoys are a lot lighter and quieter which plays up her gentleness.

I think what can also make all your developmental info useful and how to appropriately add layers to your character might be to differentiate between: 1) how the character acts in front of others/wants to be perceived, 2) how they’re perceived, 3) why the character wants to be perceived that way (if applicable), and 4) what they’re actually like. For example:

She’s boisterous, always the center of attention, and popular but goes home to a cold house where her parents are too busy fighting to notice her. She tends her garden in her spare time and enjoys quiet days on the beach but usually ends up partying all weekend instead.

OK SORRY THAT IS RLY CHEESY BUT..!!! I hope it makes sense: she’s gentle/kind but she’s ignored at home; she wants to be well-liked and the center of attention so rather than indulging in her gardening hobby or having quiet days to herself, she parties it up. This way, your character appears one way due to a personal belief/experience but they’re actually something completely different.

Something that might help could be to think about the dynamic you want your character to have in the story: are they the funny one who lightens the mood? brave one that gets things going? serious one who keeps things under control? If you think about their context, all your decisions can back that up! Like, don’t just make your character be who they are for no reason. For example,

Funny person: he has like 900 younger siblings who cry a lot so he’s really good at telling jokes now because he makes jokes to get them to stop crying

Brave person: their husband died with 900 regrets because he was too scared to live his life so now they’re set on being accomplished and moving forward

Serious person: they feel like a complete mess inside so they like to help keep their friends’ lives under control

All of those examples (LOL THEY R WILD, SORRY) have room to expand on their backstories which in turn would influence their likes/dislikes/hobbies/life choices! Always use a character’s life/environment/family/friends/etc to help develop them, they’ll feel a lot more settled and real that way.

(My FAVORITE is coming up with a character’s family life. How many siblings do they have? People act different depending on their standing within their family. The over-protective older sibling? The baby who’s teased all the time? The middle child who’s teased by the older sibling but is protective over the younger sibling? Very fun……. :’))

I really like those character memes that go around where there’s all those questions like, “how does your character feel about [social issue]? is your character a morning/afternoon/night person? what movie genre do they like?” because they’re very telling of a character. If you tell yourself why that’s the answer for a certain character, you learn how the character makes decisions, how they react to things, and how they socialize/perceive others.

I definitely don’t believe in overloading your story with useless info about your character but, truly, I think those little decisions will help you behind the scenes write them in the story–they’ll feel very real and very compelling, so don’t worry about taking “too much time” on it! :D

This became TRULY LONG… I hope I even answered your question!? Please let me know if I completely missed it. :’D Thanks for reading if you got this far and I hope it can help! ♥

anonymous asked:

The part in which Bum tries to poison the food (and does so), Bum eats first and, respectively, gets sick. What about Woo? How come we don't see any sign of sickness from him, considering that he did eat the food Bum made (didn't he?)

Aha, you’re not the only one to ask about this scene, Anon. I’ve gotten two more asks wondering the same thing. Unfortunately, there isn’t really a clear explanation for this in the original webtoon either. However, let me just switch from my linguistics cap to my murder-story-writer cap.

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anonymous asked:

Why does Dean have to like ballads and other "soft" things like that in order to be bi? Don't we watch the classic-rock loving macho dude to be the bi one, without having to code him more feminine to do it? Seems like it would make more of an impact that way. I'm just thinking to myself of dudebros like "oh, no wonder he's gay, he likes Taylor Swift!" and it makes me uncomfortable.

Dean liking Taylor Swift or other girly things is not ‘proof’ that Dean Winchester is bisexual in and of itself, no, but nevertheless, it is not disingenuous to say that they are related issues.

There is plenty of evidence from canon that has to do with Dean Winchester’s bisexuality that has nothing to do with ‘girliness’ and everything to do with, you know, Dean being romantically/sexually linked to and attracted to men. (Which, I won’t go into here in too much depth, because it’s covered in other metas, but, you know, it’s there. *coughcoughSiren1940sSoldierDrSexyAaronCasManyManyMorecoughcough*)

But, see, here’s the thing, and don’t mind me, I’m gonna get all up in sociology and whatnot, because this is literally the exact stuff we are covering right now in my uni class, and it is fascinating

Dean Winchester is a character that, in various complicated ways, is both a reinforcement and rejection of the ideals of what can be referred hegemonic masculinity/normative masculinity, and the acceptance or denial of his queerness is very much linked to that.

On a surface level, he is an almost perfect example of the archetypal ‘manly man’. He is attractive, white, (because hegemonic masculinity is also very tied up in whiteness,) strong, he drives a muscle car, he fights, he drinks, he sleeps with women, he likes porn, wears a leather jacket and well-worn clothes like jeans and plaid and canvas jackets, he eats burgers and listens to classic rock, uses guns, etc…

Except at the exact same time, that is a very limited and limiting view of his character, formed so much as it is not necessarily by his own preferences, but by all of his coping strategies and the ways in which he has built up layers of armour and pretence, mostly as a result of John Winchester’s influence/expectations for Dean, and the hyper-masculine/violent hunting culture in which he was brought up (and even, in truth, in the ways that Jensen ‘My Dad Thinks Drinking Out of A Straw Isn’t Manly’ Ackles himself informs the character, as he is also a product of many of the same social forces that Dean is influenced by, and there is tons of actor/character bleed I could point to in those respects).

This has been addressed in the narrative before, most notably in Dream A Little Dream of Me when Dream!Dean says to him:

“What are the things that you want? What are the things that you dream? I mean, your car? That’s Dad’s. Your favorite leather jacket? Dad’s. Your music? Dad’s. Do you even have an original thought?…You can still hear your Dad’s voice in your head, can’t you? Clear as a bell.”

Who Dean is isn’t the Dean we see on the surface level, or at least, that’s very much not the only thing that he is, he is a lot more complicated than that, but most of the time, he represses it, he actively seeks to deny it in order to be the person he thinks he needs to be.

Dean isn’t the manly man’s guy he thinks he is, or who many people, both within show or on broader level, think he is.

Dean Winchester is also the man who likes cooking, who is the little spoon, who likes nice clothes and wearing pink panties, who watches soap operas and ‘wuvs hugs’, who is a caretaker, who is literate and intelligent, who is hugely geeky, watches ballet movies, likes romantic ballads and pop music, who is empathetic and expresses emotion, sleeps on memory foam, and a million other things that are considered ‘not man’ things to do.

The problem with hegemonic masculinity is that it is ridiculously tied up in shame, self-policing, and self-denial of anything that can be considered feminine, to the ludicrous ‘Real men don’t drink out of cups this small.’ levels that we see. (But of course, Dean still drinks the coffee, he just makes a protest about it, first, because it’s all about the facade)

So even though, many times, we see Dean allowing himself to be the way he is, or accepting those aspects of himself, just as often we see him constantly backsliding, repressing, forcing himself into the mould and denying himself things, because they don’t fit that ideal of the man he thinks he is supposed to be.

So what does this have to do with bisexuality?

Thing about hegemonic masculinity is that is it is incredibly dependent on the idea heterosexuality as part of the standard of masculinity.

Anything that does not fit the traditional male categories is conflated and coded with ‘being gay’.

Remember what Jensen said at that one panel, about the scene where Dean gives Cas his trenchcoat back was ‘gay’, and that when someone called him on it, he said that ‘unmanly and gay, in this context, means the same thing’? I’m paraphrasing slightly, but that’s essentially what he said

So yes, that stereotype does very much exist, wherein liking ‘girly things’=queerness, and being queer=liking girly things, in a complicated back and forth loop.

Emotions are ‘gay’. Taylor Swift is ‘gay’. Real men, though, real men definitely aren’t gay. (Obviously, Dean is bisexual, not gay, but any amount of queerness is sufficient to be a threat to this kind of idea)

It’s something we see hugely in society, where a big part of the way that masculinity is policed in through homophobia and compulsory heterosexuality.

so that men who wish to be seen as heterosexual must be also seen as manly, and anyone who isn’t manly is automatically homosexual, and homosexuality= shameful, bad, wrong, and antithesis to the standards being upheld.

So Dean Winchester, given the extent to which these ideas of masculinity are integral to his sense of self?

He is not a character would find it easy to come to terms with his own sexuality, which is why, despite there being many hints as to Dean being bisexual, it is also something that he acts in attempts to deny, rather than coming to terms with it, no matter what ‘potential for love in all places’ (bless you, Sgriccia) there might be.

So, in many ways, Dean Winchester’s subtextual (and hopefully at some point textual) bisexuality is a huge part of the way in which he can break away from the surface level view of Dean Winchester as the Manly Man archetype, and so the other aspects of that subversion naturally relate when we are discussing them.

So when we are talking about Dean allowing himself to deviates from traditional masculinity in relation to his queerness, we are not saying that men cannot be very traditionally masculine and be gay or queer, or that non-gender-conforming men cannot be heterosexual.

We are merely acknowledging the ways in which societal coding accounts for this viewpoint as a part of examining the character.

Partway through the episode, Young!Dean talks about liking Taylor Swift with horror, as if it is a terrible thing, but towards the end of the episode… He keeps it playing, anyway, and smiles, just a little bit.

To our minds, evidence of Dean’s character development allowing himself to be more comfortable with pop music, in spite of the ways that it relates to the broader ‘dudebro’ ideas of the implications of that, may suggest potential for allowing himself to be more comfortable with other aspects of his identity.

Does that make sense?

tl;dr if Dean Winchester can learn that it’s okay to love Shake it Off, maybe there’s hope that he can embrace the part of him that might just want to kiss the face off a certain ‘fella over there’.

anonymous asked:

Hey, I was wondering if you could recommend some books? Like of the fantasy genre. I'm craving something to read but I don't know where to start!

Oh man okay let’s do this here are my current top ten in no particular order:

  1. American Gods & Anasi Boys, by Neil Gaiman
  2. Tales of the Otori, by Lian Hearn
  3. The Edge Chronicles, by Paul Stewart & Chris Riddell
  4. The Wheel of Time, by Robert Jordan (& Brandon Sanderson)
  5. The Old Kingdom, by Garth Nix
  6. Stardust, by Neil Gaiman
  7. Discworld, by Terry Pratchett (GNU)
  8. His Dark Materials, by Philip Pullman
  9. Runemarks & Runelight, by Joanne Harris
  10. Power of Five, by Anthony Horowitz

Thoughts on each under the cut:

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About torches, fire & Bellarke.

This was meant to be short but yeah, no. Beware, there’s gonna be feels in this post! @rosymamacita, I blame you for this goddammit. 

As many of you may know, a popular theory is that fires and torches act as a symbol for the love, attraction and partnership between Bellamy and Clarke. Was it you Rosy who mentioned this for the first time? You’re the first of whom I read something about it anyway. 

There’s several instances in S1 where B/C are surrounded by fire and/or torches; the most noticeable in Unity Day where they were clearly flirting. There’s also a later episode where Clarke is outside the walls and there’s one guard with a torch also outside, and then Bellamy comes out of the camp gate and lo and behold, there’s another torchbearer. I don’t remember what episode this is from, but there’s a post with GIFs on Tumblr. 

In S2, there’s the scene at the fireside where Bellamy looks at Clarke when she’s sleeping, she wakes up and then they have a heart to heart. Interestingly, this is the only instance in the whole season where they’re linked with fire aside from the scene in 2x09 where Clarke told Bellamy he should go into the Mountain. The light was very dim in that scene, which could read as a suppression of feelings. The contrast between this context and the one in which she told him ‘I can’t lose you to, okay’ is stark: that was in broad daylight (symbolizing honesty, maybe?), while when she tells him to go it’s after nightfall. In between those two moments, there was also the one where Clarke lighted the funeral pire with a torch, and appears to look at Bellamy when we’re shown that she’s hallucinating Finn who helps her lower the torch

Some people say that it’s in season 2 where both Clarke and Bellamy realize they have feelings for each other, but they can’t exactly pinpoint when. I’m not going to say that I do, but I definitely think what happened in ep 2x05 (hug + fireside chat) made them think about their feelings. It sparked something in both their minds and started this dance that they’re still performing. 

(I have to check whether there are any torches near them when they reunite in 2x16, I’ll update this post when I’ve arrived there in my rewatch.)

Anyway, I’ve only just now come to the part I actually wanted to share with you. In season 3 the fire as Bellarke-is-connecting symbol is upped by 5000%, it’s just so fucking extra I’m surprised they didn’t have more sexual tension. Or maybe they did but it flew over my head because I was used to them not getting together and didn’t expect them to anymore. Anyway, I digress. 

In 3x11, they meet again in the cave, where’ there’s both torches and a fire. Neither of them go near it. Then in Niylah’s house, which is full of candles, torches ànd fire, they slowly start to gravitate toward each other again. They start to touch each other again, and they’re healing touches. However, they’ve still not talked it out yet. In 3x12, something weird happens. When they’re standing around the funeral pire (where, incidentally, they’re placed right next to each other, as a pair between 2 couples: Bryan and Nate, Monty and Harper), they’re standing right beside the biggest fire yet of all the fires they’ve ever stood beside together. They’ve just both made it clear that they would give up their lives to save the other, Clarke by telling Bellamy she’d turn herself in to Emerson and not expecting him to try and stop her; and Bellamy by going into the airlock. They basically said ‘I won’t live without you’, BUT THEY STILL WON’T TALK TO EACH OTHER, THE STUBBORN GOATS. 

I believe they are both very aware of their feelings for each other right after that, which is visible in their awkward glances toward each other in the rover in 3x13. It takes another fire to get them to talk to each other though. What I love is that their conversation takes place after Bellamy walking away from the fire, IMO symbolizing he’s not ready to fully open up yet, not when his brain is muddled with guilt and grief about Lincolns death and sadness over sort of losing Octavia. Clarke doesn’t fully open up either - as I’ve stated before, she’s only paraphrasing what Abby once said to her, not coming up with her own advice or consolation. That’s not a bad thing, it just means they’re not ready to admit their feeligs to themselves, let alone to the other. This is why in 3x14, when they’re at Luna’s rig and sitting around a fire, they’re in the same positions as they were in 2x05. You can clearly see that in the GIFs below (credit to their makers): Bellamy is sitting with his arms on his knees/upper legs, hands together, and Clarke is sitting with one knee pulled up in the direction of her upper body, arms around it, and the other leg lowered. They’re back in the same place they were in 2x05 - or at least they convince themselves they are, because they are far too vulnerable to let themselves think and talk about their feelings. Something has changes though, which is made clear by the presence of not one couple (in 2x05 it was Lincoln and Octavia), but two. 

Someone pointed out that the shot focuses first on Jasper and Shay, who were in the flirting stage, then Bellarke, then Luna and Dereck, who are in the established relationship stage. So we as viewers are told Bellarke are somewhere in between those two types of relationships, but it remains vague what they are. 

Both Bellamy and Clarke seem to be suppressing their feelings again, but can they stick to it? I say no. 

Originally posted by bellarke

Originally posted by fyeahbellarke

ahola-bez  asked:

I've read all of your analyses about Korrasami and I do think they have many valid points. I'm not a fan of the ending not because of a lesbian relationship or because I shipped Makorra. To be honest, I really don't like shipping in general because I feel like it distracts from the main message of the show. But I do feel like it was badly written. I don't think hints are enough to establish a romantic relationship between the two, especially after the subplots from the first two seasons.

[CONT] I would’ve loved the ending if the relationship was directly addressed from the beginning. A lot of your points involve moments between Korra and Asami, like how Korra only wrote to Asami or how Asami comforted Korra towards the end of the 3 book, but I feel like those scenes could be interpreted as both a deep friendship between them or as a romantic relationship. You see a lot of similar interactions between Toph and Katara in ATLA, like in their story in the Tales of Ba Sing Se.

I just wanted to tell my opinion to you. I respect your opinion, but I personally feel like the ending was badly written in the context of a children’s show, not because of the exposure of homosexuality, but because there are a lot of things that need to be analyzed for Korrasami to be coherent. But you do make a lot of valid arguments towards Korrasami.

Korrasami wasn’t “badly written”; it was just that it wasn’t “explicit” and the reason for it is due to the stigma of having same-sex couples on national tv especially on a “kids show” (this is also the same network that received a lot of hate when an episode of Spongebob aired that depicted him and Patrick acting like a married couple :/). 

Anyway, Bryan actually explained it more in his post:

Bryan: I have bragging rights as the first Korrasami shipper (I win!). As we wrote Book 1, before the audience had ever laid eyes on Korra and Asami, it was an idea I would kick around the writers’ room. At first we didn’t give it much weight, not because we think same-sex relationships are a joke, but because we NEVER ASSUMED it was something WE WOULD EVER GET AWAY WITH depicting on an animated show for a KIDS NETWORK in this day and age, or at least in 2010.

Bryan: The more Korra and Asami’s relationship progressed, the more the idea of a romance between them organically blossomed for us. However, we still operated under this notion, another “unwritten rule,” that we would NOT BE ALLOWED TO DEPICT that in our show. So we ALLUDED to it throughout the SECOND HALF OF THE SERIES, working in the idea that their trajectory could be heading towards a romance.

This is the reason why Korra and Asami’s romantic relationship wasn’t as “explicit” as M/akorra, Zhurrik, Kainora or Bopal (seeing a trend?). Hence why some people view it as forced or “badly written”.

And as a friendly reminder, M/akorra actually derailed the plot and sacrificed the development of other characters back in Book 1 & 2 while Korrasami was woven organically into the plot without suffocating it. It was subtle yet present. I suppose to some people, that is the problem.

We are so used to the hero/ine always kissing the love interest and declaring their undying love by the end of the series that we can’t seem to accept other alternatives to a love story but please understand that the moment Korra and Asami walked through the Spirit Portal, their relationship changed from “friends” to a “couple”. It would be quite jarring for them to suddenly kiss and profess their love so early in their romantic relationship (especially since both are still recovering from the war, old and new). By taking this route, Bryke kept their relationship consistent; they can communicate with just simple gestures, no words required and that to me makes the ending even more beautiful. 

To conclude. Korrasami wasn’t explicit because it’s a same-sex couple. Fact. However, their love story wasn’t “badly written”:

Both Asami and Korra in the beginning were vying for the same guy that in the end, couldn’t give them the proper respect they deserved. However, it was through him that they got to know each other and bond. And they had every reason to be bitter with each other: Asami’s father was a staunch supporter of the Equalists and she was dumped, twice, by the same guy Korra wanted to date. But that didn’t stop them.

As they spend more time together, their friendship deepened but before anything can be done about their relationship, Korra gets hurt. 


The result was witnessing a young woman become an empty shell of her former self while the other tried everything in her power to put her back together. 

This caused their blossoming relationship to be put on hold.  

At the time, nothing could be done and they didn’t see each other again for three years when Korra left everyone in Republic City.

Including Asami.

One letter was all Korra could muster through her PTSD during her time in the South Pole and it was written for Asami….who kept receiving countless letters from the very father who tried to kill her four years prior. 

But as soon as they saw each other when Korra returned to the United Republic, they acted as if nothing changed between them but just like before, their time together was cut short due to Kuvira and her advancing army.

Then everything changed when Kuvira was defeated. 

This is a love story about a non-bender who fell in love with the Avatar who in turn, fell in love with her. 

External image

That, in my opinion, is a beautifully written love story that did all that it could within the limits placed by our society. 

skylarri1991  asked:

I'd really like to hear your thoughts on the reunion scene in (I think) 2x15 or 2x16 where Bellamy and Clarke see each other again in Mount Weather. I mean, I can clearly tell what Clarke's emotions are from her face but Bellamy's is a little bit more difficult to decipher. I really can't tell if his expression is mad, shocked, or heck, if it's a glare or of it's something else entirely. I don't even know lol that's why I wanna ask your opinion?

I need to provide some context in order to answer this question. I think that their previous scenes together help to reveal Bellamy’s feelings and expressions in the 2x16 reunion scene. 

First, I think Bellamy pushed away his feelings for Clarke and built a huge emotional wall around his heart after 2x09. At first, when Clarke confessed to Bellamy that she couldn’t lose him at the beginning of 2x09, you can see a transformation in Bellamy: he became more vulnerable and open about his desire to protect Clarke (hmm… almost like he was beginning to embrace his feelings for Clarke a bit for the first time). But then she basically said his life was expendable, and we saw his heart (visibly) break into a million pieces. After that, I think he forced away his deeper feelings for Clarke and went back to viewing Clarke as a business partner more than someone he deeply cared for (btw, I think 2x05–the campfire scene and the hug scene–is when Bellamy realized that he loved Clarke. Maybe he didn’t realize he was in love with her yet, but he definitely realized that he loved her deeply and that she was special to him). Therefore, Bellamy goes into the mountain with a protective wall around his heart when it comes to Clarke, but Bellamy isn’t someone who can divorce himself from his emotions for too long so… 

Bellamy’s wall cracks a bit when he hears Clarke’s voice on the radio in 2x11. He is visibly affected by hearing Clarke’s voice on the radio in the same way she is visibly affected by hearing his voice, but we can still see Bellamy steeling himself a bit in this scene (see the video below). She stops in the middle of their rushed conversation to reestablish an emotional connection with him (perhaps she is trying to make up for what she did in 2x09 a bit?): “and, Bellamy … you came through. I knew you would.” Bellamy’s walls suddenly shoot up, he doesn’t reciprocate Clarke’s invitation to reestablish their emotional connection, and he ends the conversation with a self-deprecating, though realistic, half joke (side note: he doesn’t really value himself a lot, does he? and he sucks at telling jokes–remember 3x16? yesh …). I think he does this in 2x11 because he’s still protecting himself against his feelings for Clarke… 

Third, the last discussion Bellamy and Clarke have before the scene in 2x16 is when Clarke lied to him about his sister being in TonDC. If you rewatch the scene in which Bellamy finds out about Clarke’s deception, you can see he feels deeply betrayed by Clarke. Raven even knew that part of Bellamy’s pained voice came from Clarke (again) hurting him, which is why Raven immediately reassures Bellamy that Clarke was just trying to protect him (remember Raven had a front row seat to the 2x09 “it’s worth the risk” Bellarke interaction, so she knows something is going on between them); the pain wasn’t just because he was afraid for his sister. I think Bellamy saw this betrayal as more evidence (in his mind) that Clarke doesn’t view him as important to her as he felt she had become important to him (of course, the audience knows better. We saw Clarke’s constant worry for Bellamy and her desperation to keep Bellamy alive throughout 2B, but Bellamy didn’t see it unfortunately). He thinks she sees him as an expendable solider, and the last thought he had of Clarke before the 2x16 reunion was that she had betrayed him. 

The Raven and Bellamy 2x11 Scene: 

All right, so in the 2x16 Bellarke reunion scene, we need to keep four things in mind. 1. Bellamy has steeled his heart when it comes to Clarke. It’s all business for him at that point. 2. The last time Bellamy and Clarke talked, Clarke lied to him and almost let a bomb drop on top of and kill Octavia. 3. Bellamy is desperate for a plan to save his friends because the one they had just fell through and 4. I think that (at this point) Bellamy does indeed love Clarke deeply, but he’s pushed those feelings aside. 

I sort of love this scene because you can tell that Bellamy and Clarke have unresolved personal issues. Everyone hugged each other in this scene EXCEPT for Bellamy and Clarke (which is a huge contrast to their 2x05 hug and I think the writers intentionally had them NOT hug in order to show the audience that Bellamy steeled himself against her). But, it’s worth noting that as soon as Bellamy layed eyes on Clarke, he couldn’t look away—and that’s deeply intimate. However, I honestly think he’s more mad at her in this scene than anything else, but that he also can’t help himself from looking at her and seeing that she’s alive and well. Of course, any feelings of love, anger, disappointment, or even friendship are immediately pushed aside, he approaches her and gets right down to business and asks if she has a plan. They talk business, Bellamy turns away after he comes up with the idea to talk to Dante, and Clarke gives a look at Bellamy as he turns away. I think she’s giving a “I know you hate me right now” look because she looks … disappointed with his response to her. What was she hoping for? Why does she look so guilty? His response to her was cold and aloof, and I think he acted that way because he was mad at her still because of TonDC AND because Bellamy had steeled his heart against her: 

So, yeah, that’s my interpretation of Bellamy’s look in the 2x16 reunion. He’s mad at her and he’s steeled his heart against her, but he also can’t help himself from looking at her and knowing that she’s okay while also hoping that she still has a plan to save their friends. 

It’s sort of a difficult look to analyze because I don’t think it’s a romantic look at all, but at the same time, the “I’m looking at you while I’m hugging someone else” is typically shown in film to reveal that although person A is hugging person C (who person A is suppose to love the most), person A is looking at and thinking more about person B (who is the person that Person A can’t keep their eyes off of) … so it’s an interesting look, for sure, and it’s a common look to use when directors want to show that Person A and Person B have strong, unresolved feelings for each other. Sort of like this one:

But yeah, I think it’s as I described above.