and no minor character more important

Representation Matters to White People Too

Look, when I say “representation matters,” I believe that the most important thing is for people who are often ignored in arts and media to see themselves there. 

But I also mean that it’s important for white/hetero people to see people who aren’t white/hetero. 

Here’s the thing. I was raised in a very white/hetero community. Every friend I had was white. I never had a black person in my classroom until late high school. I never had a black teacher until college. There was one out-gay student at my high school. One. And I saw what shit he had to go through by being out. 

And, if I’m honest with myself, most of the adults in my life were racist and homophobic. They were good, loving people…to me. But they were also racist and homophobic. 

And as a kid through my teen years, I’d be lying if I didn’t say that didn’t affect me. I parrotted the adults in my life, which meant that I often parrotted their hate and their prejudice. I’m ashamed of those attitudes now–now that I’ve had education and met people who were different from me and travelled the world and put aside hate. 

But then? It was easy to excuse racism. People who weren’t white and straight didn’t exist in my world–and they didn’t exist in the world I saw on television and in books and on the radio. It was easier to live in the bubble of that world. 

Representation matters to white people, too. It is important for white people to see diversity. Not as a token, not as “politically correct”–the white people who feel that adding a minority character to a storyline is pandering are horrible people who are entirely missing the point. I’m talking about the white kids who don’t see minorities in their lives, but who see a black girl and a white boy being friends on Sesame Street. I’m talking about the straight teen reading More Happy than Not, I’m talking about the white teen empathizing with Malala Yousafzai. The more representation we have, the more we hold a mirror through the world rather than whiting-out people who aren’t like the majority, the better our world is.

Representation matters.

10

Hmm? What am I doing? Oh you know, just collecting pictures of the biggest dork in the series. 

So I’m reading the Mob Psycho 100 manga and I’ve reached the World Domination arc…and I would never thought that the Body Improvement Club members would be characters I come to respect.

They started out as simple-minded, genuinely kind people who do body training for their own enjoyment, and are very protective of their weakest, youngest member. And that’s nice, but they still seemed like minor characters to me and so they didn’t strike me as someone important in the story. Then came this scene:

Not only does President Musashi (a mere human) saving Mob from Shibata (an esper) makes me cheer, but also what he says shows how much Mob means to the whole club. Mob is not just the weaker friend in their club that needs people like them, who are bigger and more muscular, to care and protect from danger. Mob is their inspiration because of who he is: a hard worker who won’t take the easy way out, even though he can. The members of the Body Improvement Club don’t protect Mob because he is the weaker teammate. They protect him because they recognize his determination and they admire him.

And this is touching. Throughout the manga, we see people getting close to Mob because of his psychic powers, because they can use Mob’s power for their own benefit. But the students from the Body Improvement Club likes Mob for who he is, not for what he can or can’t do. They look up to him because of the values he carries and most importantly, they are the few who notices it before acknowledging Mob’s psychic abilities, while many other characters take some time before they realize Mob’s real strength lies within his personality. 

Mob Psycho 100 is a story that values people who are pure at heart, people who are seen as naive and don’t chase after power or fame or money like the rest of the society. It is through these people that we find true strength and friendship. It is people like Mob and his beefy classmates from the Body Improvement Club that are worthy of our admiration and respect. 



Photos taken from the Mob Psycho 100 manga.
All credits to ONE.

Rambling about Reigen

Okay, so i really like the popularity of the whole Reigen is asexual headcanon. 

For a lot of reasons. so I’m going to ramble for a bit. not just about that, but also about Reigen and friendship in general.

One thing being; he’s not the sort of character that usually gets seen or portrayed as asexual. He’s not innocent or childish or naive in any way. He’s a sly con man whose greatest weapon is his words and he isn’t above outright manipulation. but he’s also a character who places great importance on being a responsible adult, and damn well tells off adults who pick fights with children. 

But he’s also really lacking in personal connections, and throughout the series thus far has shown no interest in forming romantic relationships, never so much as acting flustered or infatuated around anyone even as a gag. 

but while he has shown no interest in romance he also seems to neglect most other relationships too, but seemingly unintentionally. his neglect of his friendships, unlike his lack of interest pursuing romance, is something that it’s often shown he regrets.

His only real interpersonal connection in the series is with Mob (and Dimple) for the longest time, and after they fall out and we find out more about Reigen’s life outside of his connection to Shigeo we also find out more about the people he knows:

The closest thing he has to friends are a bar full of easily manipulated and flakey people, who turn on him the moment the whole media scandal starts. 

But what makes this different to most ‘loner’ asexual stereotypes is the fact that Reigen is actually incredibly adept at understanding people and isn’t socially inept at all, in contrast to Mob (who in further contrast, is also really good at making friends despite his social ineptitude). 

His main downfall really is that he can be a bit too dismissive of the people he actually cares about at times, both intentionally and unintentionally. Which affects the few interpersonal connections he really does care about since he does take them for granted at times, first with mob in the separation arc, and later in a much more minor way with Serizawa, when Reigen waits until the last minute before asking to hang out with Serizawa for new years:

Serizawa is so important to me as a character, but in regards to Reigen he’s also Reigen’s first real adult friend/employee in the entire series. so while minor, this incident does inform us of quite a bit in contrast to the start of the seperation arc. For one, Reigen accepts the rejection much better than when Mob told him he was busy that time, and even though Serizawa is just as, if not more socially inept than Mob, Reigen doesn’t dismiss his claim of having other friends. So, character growth!

The fandom likes to joke about it a lot, but Reigen has become a beacon of “Dad” to all the kids in the series, as well as the adults who act like kids if i’m honest! (looking at Claw with that statement) And despite being a fraud he’s the one everyone comes to for help, adults and kids alike. 

He’s the person the former Claw members go to at the start of the second Claw arc in order to get help, same with Teru. He’s the one Mob calls to take him and his friends out alien hunting rather than asking his parents. And he’s the one who solves the problems of so many other people in the series using words or plain old common sense. He may not go about things in the most ethical way, but he always honestly tries to leave people in a better place than where they started, even if that involves manipulation.

All in all he’s a unique and complex character, and honestly I couldn’t support the ace Reigen headcanon more. 

Every time I see a post about young Leia that mentions Bail approximately 1500 times and never once mentions Breha, I lose another year of life.

2

@hpminorcharnet get to know the members challenge: Caitlin
favourite minor characters - Regulus Black

He was murdered by Voldemort. Or on Voldemort’s orders, more likely. I doubt Regulus was ever important enough to be killed by Voldemort in person.

To Note:

This is how I study literature and it works for me( my lit exams marks are typically 70/75 sometimes higher or in the high sixties( 60’s) but everyone is different and it is important that you use what works for you! I hope this helps you in any way big or small!


1: Read the novel. Just read it with no stopping to take notes or highlight, if possible try to enjoy it. This gives you a general idea of all the themes, plots,characters and others.

2: Get a notebook  or leaflets of paper binder/folder to keep it all in one place. I prefer a notebook. What I have in this notebook:

  • I tend to leave the first page blank and later paste a quote on it.
  • table of contents.
  • summary of full book.
  • any research on particular topics (this was homework but i would recommend researching a little if the book mentions a lot of like historical stuff or things you just don’t know).
  • the main character’s family tree.
  • a page each for the main characters then I put a page for important families in the book (examples Radley and Ewells family in To Kill A Mockingbird). As well as one or two pages titled ‘minor characters’ where any little detail about these characters can be jotted down here. More on what these pages contain later on.
  • chapter summaries in order, with beginning and ending page numbers along with a short analysis (on a post-it). I also add a quote that I i liked or felt was important but that isn’t necessary as quotes are covered later down. These summaries are written after I reread that particular chapter, where I underline words I don’t know the meaning of and you can highlight important thing if you want,preferably to a colour code system. here’s a nice little guide to annotating by @mildstudies

3: So what I usually have on these main characters’ pages are:

  • basic character information (name, age, race.
  • character sketch (basically the qualities of the person like bravery and kindness).
  • character growth (more so for the protagonist).
  • an important quote or two that was said by the character but again that’s not necessary.
  • my thoughts on the character which I think is really important.

4: Quotes are very important in literature and most if not all teachers will encourage you to use them in your essays so these are two things you can do:

  • just write quotes that each person said on their character’s page and quotes from the narrative itself on a separate page.
  • or the second way which I prefer is to arrange these quotes by chapter, highlighting which character said it and then writing a brief analysis on it. You can also arrange them by person and highlight the chapter and page number. I love either ways.

5: Vocabulary is also important ( my teacher once told me about a question asking for the meaning of 'spittoon’ in To Kill A Mockingbird.) When reading over the novel I underline words I don’t know and transfer them onto a separate sheet of paper (arrange by chapter) and write down the meanings. You can use two columns to do this, one with word and the other definition. You can also use studyign’s summary foldables method and make (online) flashcards to test yourself.

6: Reviewing for exams can be hard, especially if you don’t have the time to reread the entire books. But that’s okay because you have the chapter summaries and analysis and all your other information although I do recommend reading or simply skimming the really important chapters. Here are some other tips:

  • know your exam format and the type of questions. My exam typically gives us two choices for the novel, each of which gives us a particular topic (one example is Jem’s punishment for what he did to Mrs. Dubose) and then three to four things they’d like us to include (example: why did he do that to Mrs. Dubose.) We are to write these in essay formats.
  • write essays on the book to review later (for TKAM I’m writing an essay on the theme racism using references from the book as well as I wrote a view on Scout’s character and Atticus’ parenting style.) This is really good to read before an exam.
  • do mock papers, preferably within the usual time period of your exams.
  • get a good night sleep, eat a good breakfast and believe in yourself. You’ve put in the work, you’ll reap the benefits.

Important:

I guess this can be considered hardcore because I’m probably the only one in my class that does this much work but the main reason is that I am being tested on this at the end of the term for probably three terms in all as well as in 2018, two years after we started doing this novel, I will be tested on it for an exam that the entire region (i believe it’s similar to gcse) so all this work is in preparation for that so do adjust it to fit your needs. I’m also very open to ways to improve this!

Hypothetical Reveal Scenario

So it goes like this. There’s some play going to happen at school, and Marinette, Adrien and Chloe (at least; others might, but they’re not important to this) all end up auditioning. Adrien ends up the brave hero, Chloe probably ends up as the female lead, and Marinette ends up with a minor role. But all this is just set up.

So, it’s during rehearsal, and Adrien decides to shift things with his character. He messes up his hair, adopts a more confident stance, and goes out to a scene where he interacts with Marinette’s character. His first line? “M'lady.”

And seeing Adrien like that causes something to finally click in Marinette’s mind. Those green eyes, that blonde hair, that cocky way of walking… a thousand past scenes suddenly shift and recontextualize themselves as everything suddenly makes a horrible, terrible sense.

At least, that’s what’s going on in her brain. As far as everyone else is concerned, Marinette justs starts screaming, grabs Adrien’s prop sword from his hand, and starts beating him with it for a couple minutes before being restrained.

Submitted by @faithful-grigori

wistingman  asked:

You once stated the Fantastic Four were the actual best super team. Why is that?

Assuming there’s even a nominal need to explain it any further than “they were Jack Kirby’s main project for just shy of a decade,” or for that matter “it’s the team Ben Grimm’s on” or “they’re where Doctor Doom comes from,” it’s actually a little more complicated than it might seem, because it’s not quite a matter of them collectively being the best characters in comics. Ben’s right up there, and Reed’s great too in the right hands, but Johnny’s while fun still pretty one-note, and while Sue works in the context of the group, I still feel like after all these years people haven’t quite fully fleshed out her deal in the same way as the others. Pound-for-pound, they hardly match up to the Justice League. But a team is a lot more than the sum of its parts; it’s the dynamic, the context they’re framed in, and the scope of what you can do with them. And in those regards, no one else is even close.

Let’s cover the other major players. I like the Doom Patrol from what I’ve read (Morrison’s run and what there’s been so far of Way’s), but they seem really shifty in terms of lineup in spite of being a small group, making it tougher to build long-term stories around character dynamics, and most of their adventures seem to be them just trying to wrap their minds around what’s happening to them; like the Spirit, they’re the spectators, not the spectacle. The X-Men are…a whole piece in and of themselves, but long story short, as far as I’m concerned they’ve spent over 30 years coasting on a run that got by on trying *slightly* harder than its competition at the time and a strong if muddled central metaphor, with any attempts at doing anything actually interesting with them since then smothered as soon as they start to gather any steam. Ditto Teen Titans, without even the symbolic strength of the central concept; all they’ve got is the cartoon, and DC’s spent over a decade resolutely making sure absolutely none of what made that show work gets into the comics. The JSA is Fine, Just Fine, and Jay Garrick and Ted Knight are both great, but their integration into the main DCU was - aside from scrapping the multiverse - the biggest mistake DC ever made in terms of large-scale continuity reengineering, and aside from the pretty clearly failed Earth-2, everything with them for the last 30 years has been built on the back of that illusion that any of them are in any way anywhere near as important as Superman or Batman. I’ll cop the Legion of Superheroes might have more meat on the bone than I’ve seen, but I’m not willing to shell out however many thousands of dollars on archive editions I’d need to find out, and while I imagine the Defenders were great under Steve Gerber, that seems to have largely been it for them.

That leaves the big two. I’ve covered it before, so keeping it relatively short: the Justice League is the best team in terms of average character quality so long as we’re sticking to the Big Seven model, but because each of them is iconic and important enough that they all have their own stuff going on, the focus in their best runs is on big action, with character work necessarily taking a back seat. They try to shake it up sometimes with B-listers, presumably on the basis that that’s how the League was conceived of in the first place, but it never works; the minor characters in the beginning were elevated to the A-list by sheer dint of being on Superman and Batman and Wonder Woman’s team, and shortly afterwards the rules of that world and who was important in it were codified enough that you couldn’t really replicate that more than once in a blue moon with one or two characters. The Avengers meanwhile were originally more genuine B-listers - only truly elevated above that by the movies, or if you’re being generous Bendis - and as such the Avengers as a group was the most significant thing in any individual members’ life, turning it into a meaningful institution that made them more than the sum of their parts, while the Justice League has always been less than the sum of its own. But at the same time, while they can do more within the boundaries of being the big team than their distinguished competition, they themselves just aren’t as big a team, and can’t compete on those grounds. Maybe I’d have a different mindset if the Avengers were a big deal to me personally, but as far as the ‘classic’ members go, I maybe, generously, care about four or five of them at all.

The Fantastic Four on the other hand? For starters, they’re a pretty universally regarded perfect balance of powers and personalities - tough enough to get into some wild adventures but not so overwhelmingly so that they can’t be easily thrown in over their heads; arranged character-wise with personality quirks both complimentary and irreconcilable that let you just as easily show them hugging it out or at each others throats. But the deal-maker is that rather than a club, or a gathering of the big guns when they have time off from their solo adventures, or an after-school hangout, or a strikeforce, or a ragtag bunch of misfits, or about 938 backup dancers of varying degrees of quality lucky enough to have Wolverine and Emma Frost to carry them, they’re a family, both born and found, and moreover they’re a family of explorers. And that makes all the difference.

Obviously there’re other teams that work as families in reality or in spirit, but the FF work that way in terms of dynamic, even above their status as superheroes. Yes, if they hear about the Mad Thinker wrecking downtown they’ll go deal with that, so you can tell regular superhero stories with them. But at the same time, you don’t need any elaborate explanation to get them to the Savage Land or the Negative Zone, or even to Yancy Street; they’re as likely as not to head out there on vacation (or to stop Ben from tearing it down in the latter case). They’ll go do big, interesting things purely on the basis of going to do it together as a family, and when it’s a family that diverse in terms of interests and personal goals, that means you can organically throw them in a bunch of different directions. And because they’re science adventurers above all with superheroics as just one option on the table, that gives you all the justification needed to dish out any wild high concepts you like, on the simple basis that Reed’s interested and the rest will humor him if it means a fun afternoon. And when real danger finds them, they care for each other and argue with each other and worry about each other and keep each other on their feet the way family does, perpetually keeping the emotional stakes as high as possible.

So yeah. They play off each other perfectly, you can justify them going nearly anywhere and doing nearly anything, and at their heart they have the warmth and the bickering and the strength that comes with family. And Kirby threw everything he had at them, and they have Ben Grimm and fight Doctor Doom. That’s why they’re the best. And among Marvel’s myriad other problems at the moment, its world is always going to be the lesser and the lonelier for it whenever it’s missing The World’s Greatest Comics Magazine.

Remember when Ellen and Jo died? When Bobby died? Those were horrible horrible deaths but I got them. Even Kevin’s death I could understand. But supernatural has gotten into the habit of killing for the lolz, like jfc Eileen is not the first character to die just because the wanted to ‘add some drama’ like fuck if you wanna add some dram then FUCKING WRITE IT NOT JUST KILL PEOPLE like seriously, that’s bad writing that’s just killing for the sake of it. And it has been going on for a long time, it used to be because of the MOTW and it was usually side ‘expendable’ characters, but as the show grew and its universe expanded needed recurring characters the deaths started getting more and more senseless because some writers *BLUCKLEMMING* don’t understand the importance of these secondary characters, they treat them like disposable interchangeable extras. It’s nothing new, from the top of my head I can think of so many characters that suffered this swift stupid and senseless write off; people talk about Charlie because she was a much beloved character and a minority representation but let’s go further back, let’s remember another popular female character: Sarah who was literally brought back so that she could be killed to prove a point.

I guess what I’m trying to say is that Eileen’s death wasn’t just insulting, it is a PATTERN and it needs to stop FUCKING NOW

(A table of contents is available. This series will remain open for additional posts and the table of contents up-to-date as new posts are added.)

Part Nine: What’s the Point?

Everything in a story has a purpose. Whether it’s something big and important like a magical device that changes how the game is being played, or something small like a touch of the hand to sooth a friend’s emotions, even the smallest of details has a position to fill in the grand scheme of building your world, your characters, and your story. As many jokes as there are (and rightfully so) about reading too much into a story to find the symbolism, it’s more truthful to say that all things have a function. And if they don’t, they don’t belong. Sounds harsh, but think about characters with only one, minor job to uphold; think about how much exposition you have to weave into the story, and how many scenes just have that character shoved in there because they have to be there for the other thing, and how much work you have to put into developing this person so that they can be a fully and rounded individual just so that you can have them do that one thing. How much of that extra work and extra information that you’re giving to your audience is necessary to the story? How much does their presence inflate your word count unnecessarily? Any focus that draws your audience away from the story and what they should be paying attention to is dead weight for your narrative. Unfortunately, the same goes for creature characters.

Back in Part Two, when we first started this series, I talked about making sure you’ve chosen a creature that is right and appropriate for the world, not just the super cool-looking one. The same principle applies to having a creature companion at all. They shouldn’t be there just because they’re cool and different and you’re tired of writing humanoids. Maybe all of those things are true, but the creature should also serve a function within the story. There needs to be a reason they’re necessary to the success or failure of your protagonist in achieving their goal.

Impact on Plot:

What does your creature bring to the table? Is there a reason they are the type of creature they are? Were they “discovered” at a specific point in the plot on purpose? When we’re planning our stories, we usually have an end result in mind, some goal we’re directing the story toward or helping our characters to achieve. Usually, those characters aren’t out-of-the-box ready to face whatever it is standing in their way. There’s a reason the story’s conflict exists. The plot focuses on how the characters learn and change and overcome the obstacles presented to them, and most of the time they have friends or allies along with them whose specific skills allow them to assist in those obstacles. Did you choose to include your creature companion for this kind of reason?

Are they there as a consequence of the plot, such as being forced into the fray by plot events, or are they there from an unrelated goal of their own? The difference is whether or not they come into the group with a goal already or whether they develop their goal by coming into the group. There’s nothing wrong with either way, but it’s certainly something to think about. They benefit from having a goal, no matter what, but how they come by that goal and how actively they go about trying to achieve it can vary depending on what you’re trying to do with your story.

Impact on Characters:

If your creature companion isn’t a large part of your story (the difference between Bree in The Horse and His Boy and Moonlight in Alanna: The First Adventure), your creature can still fill more than simply a logistical position. A pack horse can become an emotional support, or a talking creature could become the personality foil for a character. Perhaps they help a character work through something or discover something about themselves. Maybe your creature provides the perspective that a character never considered, or a friendship where there had never been one before.

Your characters grow as a result of their journey–or at least they should, as part of their character arc–and your creature characters can be an integral part to that process, even if they’re not particularly helpful in regards to the plot. They can provide very new ways of thinking and seeing the world and all its problems, which is important when you’re trying to help your characters grow. Even if they’re not talking animals–which are, of course, easier to sit and have a conversation with–the friendship or animosity, willingness to interact with or stand-offish-ness toward a character can not only be a wake-up call about themselves, but also provide moments of growth as your characters are forced to deal with characters who act and think differently than themselves. How do they react to being confronted with those kinds of behaviors and ideas? How does it challenge their thoughts and actions?

Impact on Themes & Symbolism:

While this series seems to push for making creature characters another one of your team as a complete entity with backstory and big things to do, that doesn’t necessarily have to be the case. Creatures with small roles that appear infrequently can be incredibly helpful to your story in terms of mood and tone with even just a few poignant scenes or moments. Your creature may be present in hopes of cluing your audience in to certain themes you want to highlight. Maybe your creature is a bird that lands on the windowsill each day, or maybe it’s a stray cat that your character recognizes from home. Your creatures don’t have to be big, in-your-face, plot-relevant characters to have a function and impact on your story. Perhaps you want to deal with certain themes or ideas that could be best represented with creatures. It’s less about the idea of needing to have your creature achieve something and making sure that your creature is there for a reason.

Next up: Character arcs with creatures!

helenrenee  asked:

Hello, I am writing a 'Apocalypse' story that also has mythical creatures in it and I am unsure how strong I should make them compared to humans. One of the main characters is a 16 year old Elf who was trained since he was ten, and I don't want him to be too strong. Elfs can use Runes and subtle illusions in my story. I am unsure on the power levels of other Mythical creatures (like Fae, Ghouls, Centaurs, Merpeople and Chimera) as well.

They should be as strong as the story requires. There is no concrete answers here, just world building, which is, ultimately, on you.

Let’s start with your main character. Elves (or Elfs, if you prefer) aren’t real, so they don’t age at a fixed rate. Which means, saying he’s 16 years old isn’t that useful. I understand the intent behind your statement, but it’s probably important to step back for a minute.

If we’re taking D&D’s setting basics, and running with those, a 16 year old elf is a small child. Conversely, D&D’s perfectly happy to call a 16 year old human an adult. This is, of course, assuming your setting’s elves aren’t completely ageless, come into existence fully matured, and then never change.

It’s worth remembering, when you’re building a fantasy setting, that you control all of the variables. Sure, your human characters should, probably, come across as mostly human, in most cases, but even that’s not set in stone. Accusations that Aragorn is unrealistic are fairly rare, and this is a character who’s in his 80s. (And, yes, there’s an entire internal justification for that, but Tolkien’s race of Men aren’t really human. They’re another flavor of mythical beings, like his elves and dwarves. Aragorn is a step further from that, but the point stands.)

When you’re talking about elves, that’s a very open topic. Depending on your source of inspiration, that could be anything from beings that are basically human characters, that have access to very advanced magic or technology (and no, this isn’t an oblique Stargate reference), a variety of fae, normal people who’ve been altered by some release of magical energy, or just another sentient species wandering your world. It’s up to you to define who and what they are, in your setting.

This also spills over into what sets them apart from a “normal” character. What your elves are is influenced by what you want to talk about. (Because your main character is an elf, their nature is far more important than if they were a minor side element in your setting.) Once you have that, then you can start to extrapolate how your elves are different from other beings in your setting. This could be as simple as your character being lumped in with the other mythical beasts and viewed as a different flavor of monster by the people he’s trying to save (or not), or it could be a coming of age story. This will seriously influence what your elves are. How alien they are. How they age. What their society looks like. It also affects how strong they are. Depending on what you’re creating, it’s entirely possible your character is already a superhumanly powerful engine of destruction by 16, whether he has the emotional maturity to handle that or not. In turn, that would seriously influence how elves are perceived by others in your setting. Or, he could still be a small child. Where he lands between these points is something that needs to fit the story you’re trying to tell.

To varying degrees, the same is true of the other creatures in your world. If they’re supposed to be incredibly powerful, to the point that normal beings can’t even slow them down, the apocalypse is an extinction event in motion, then that’s your answer. If they’re more of an environmental hazard that a well equipped group can deal with, again, that’s your answer. If they’re a nuisance that only becomes a serious problem in large numbers, you get the idea. In practice, you’ll probably want a mix of these things, depending on what your setting needs. It’s entirely reasonable that you’ve got fairly common threats like ghouls that can be dealt with, while still having far more powerful beings like titans or leviathans wandering the world wrecking things. How these interrelate will be influenced by the story you want to tell.

World building starts with the idea of wanting to tell a story, and having a vague idea of what you want to talk about. Then extrapolating a world that supports those ideas. Finally, you go back through and start nailing down the fine details, like, “how powerful are these monsters?” or, “how did people react to their arrival?”

This leaves me in a slightly awkward place: without knowing what you’re trying to do, you’re asking for some of the final detail work without knowing what you wanted to do in broader strokes.

At a very basic level, the more powerful the creatures are, the more severely isolated human communities will be. I’m using power as an aggregate here, endless swarms of easily dispatched monsters that will overwhelm and obliterate can be more effective than a skyscraper sized behemoth that shrugs off any injury.

At the extreme end, humans may be restricted to a handful of small enclaves, and extinction could be imminent. On the other hand, you could easily have a setting where survivors have retaken and fortified entire cities, with heavily armed caravans wandering between, and smaller enclaves scattered across the world.

It’s entirely possible you’re setting up an environment like The Witcher. There are monsters, but they’re more of a pest than a real threat, and the apocalypse which unleashed them on the world is a dim memory.

There’s an old cop-out answer on physics exams, “the problem cannot be solved with the available information.” That seems to apply here. When you’re building your world, you have the  ability to shape it to fit your narrative. Think about the kind of story (or stories) you want to tell in it, and build your setting accordingly.

-Starke

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Now Or Never (Part 11)

Pairing: Arthur (Mr.) Ketch x Reader
Word Count: 1,247
Warnings: Smut. Unprotected sex. Oral sex (female). Minor tiny bit of dirty talk.
Sequel: Part 11/12 of Now Or Never

Authors Note: ***Important*** I don’t want to get blasted for knocking Ketch so far out of character so please read this note.  He falls out of character in this update. He shows heart, emotion, fear, vulnerability.  With all the changes he’s been through the man isn’t going to remain the stone faced assassin. So please don’t send me messages telling me he’s out of character.  I know he is and it was an intentional decision.

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How to Create a Comic- Tutorial Section II

Last time on Section I, we covered the basics of storytelling in relation to comics, how text and dialogue can be formatted into sequential images, and various panel techniques to arrange your scenes.

Now that you have a script for a story, you should be aware of several things that are occurring as you begin sketching the panels: the panel’s layout to “direct” the readers through the story, individual composition within each panel, a character’s body language or expression, and how action is shown.

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The Basic Anglophone Les Mis Adaptation Formula

Or BALMAF for short

If you’ve seen more than one non-musical Les Mis movie in English (whether it’s American OR British), you might have noticed that sometimes they’re eerily similar to each other. I’m talking about the 1935, 1952, 1978 and 1998 movies, as seen above.

I honestly think these are all at least somewhat based on each other. They all follow the same rough structure, they share suspiciously specific details… it’s not really hard to make the connections. So I figured I’d try to put that structure into words.

Disclaimer: I’m not necessarily saying these are all bad things. (Although most of them are.) They’re just shared features and I get that plot needs to be streamlined when you adapt a giant novel into a movie. But it’s amusing to make fun of them. Also I only included the ones that show up in at least three of the movies.


BASIC STRUCTURE:

1: This is the story of Jean Valjean and Inspector Javert, everybody else is mostly just there to drive the plot forward.

2: Prison porn, lots of prison porn Okay okay not literal porn but you know what I mean. (exception: ‘98)

3: Fantine? Who’s that? Oh right Cosette’s mom. I guess we should give her a couple of scenes then… (exception: in ‘98 Fantine gets an actual story arc.)

4: We should really linger on this Montreuil-sur-Mer part of the plot, that’s the good stuff (but we can’t call the town “Montreuil-sur-Mer”, that would be ridiculous.)

5: The Thénardiers can only appear once, when Valjean goes to pick up Cosette, or not at all. Who needs all those plot points later on, this story is about the EPIC CHASE between Valjean and Javert!

6: You can have either Gavroche or adult Éponine but never both and they’re not related to the Thénardiers because we’re done with the Thénardiers already, didn’t I just tell you? Child Éponine may be allowed with the Thénardiers but she’s never named and has no lines.

7: Wow, Hugo really went off the plot rails after they arrive in Paris, didn’t he? There’s barely anything about Javert hunting Valjean in here! Let’s fix that and remove all this irrelevant stuff about all these side characters. We’ll just keep the love story because you gotta have a love story

8: I guess the revolution thing is kind of cool as a set piece for Valjean and Javert’s DRAMATIC REUNION. But we don’t really need to explain the politics and ideology and the fighting and all the minor character stuff, all that has nothing to do with Valjean and Javert!

9: Oh wait I guess we should still kill off whichever not!Thénardier kid we decided to include, though, for Dramatic Effect and to show how Tragic and Horrible revolutions are. (Exception: in ‘52 Gavroche doesn’t die)

10: Obviously Javert should go to the barricades to find Valjean, that’s much more important to him than “spying on the revolutionaries” lol (exception: '78)

11: Sewer chase scene! Yes, finally we’re back to the REAL story of Les Mis! Javert chasing Valjean in the sewers!

12: Well, Javert is dead so I guess we’re done now. VALJEAN WON! WHOO! HAPPY ENDING!


(more details under the cut)

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lwa stars and names

Some of this is stuff I already wrote about but bear with me:

So, Ursula’s name comes from “ursa” which is Latin for “bear” (more specifically, “Ursula” refers to a female bear). This relates her back to a couple major constellations in both the series and the Northern hemisphere (above the equator), those being Ursa Major and Ursa Minor. Minor is arguably more important to the series due to the pole star, Polaris or the North Star, which we saw in the Fountain of Polaris.

Now, we have a new (villain?) character, Croix.

Her name is french for “cross”, which probably relates to a major constellation in the Southern hemisphere (below the equator), Crux (Latin for “cross”) or the Southern Cross.

While Polaris is the leading star towards the North pole, Crux points towards the South pole.

Anyway, I guess this makes Croix and Ursula (literally) polar opposites.

Mon-El: *appears on most part of the episode*
Antis: “wow, he’s taking screen time from Kara and other important minor characters. The writers should give up on him and give us, the true fans.tm what we want”

Mon-El: *appears only for like 7mins*
Antis: “wow, Man Hell hasn’t done shit. What’s he doing there?“

Mon-El: *breathes*
Antis: “Mon Ew is the worst character ever. I hope he dies and Kara returns to her own story with a better love interest. I hate Chris Wood. He’s so problematic. Please direct all the hate to him.”

“I’ve been on the station when it was under attack plenty of times. But somehow the danger never seemed as real as it does here. Maybe it’s because I spent all day seeing first hand what the Klingons are capable of. Or maybe it’s because for the first time in my life my father’s not here to protect me.”

Jake Sisko - in my series of Star Trek art.

This will be my last Star Trek character art for a little while. I feel bad I couldn’t get to a lot of important minor characters, particularly from DS9. Thank you all for enjoy/tolerating my self-indulgence to one of my favorite franchises! I got plans for a video using my art and the actual audio for each quote I used. And I feel obligated to crank out a few more important characters to do it justice, like Rom, Martok, Barclay etc. Stay tuned!

WereWolf Jack/ Cryptid AU Asks, a Compilation.

It was a lot easier to type out and answer a bunch of asks as one huge post than it was to answer them all individually and also this way its easier on the tumblr dashboard haha. So here we go: a compilation of all the questions I got sent, put under the cut for your reading pleasure (or not!). If you sent me an ask, check here for a response!

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The Kingsglaive + Their Appearance (Spoilers?)

And here I am once more, trying to pick apart the armor the Glaives have available to them. I’ll be honest: I always thought they have two outfits, the black coat one with black boots and their battle uniforms.

But since I took my time to find every little bit of clothing, I’m wiser than before. Read More if you want to!

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