and this adaptation is good


Lance: Mercy.

There are few reasons for this pick, so let me explain before you all scoff and start mumbling curses at me.

First of all, Mercy is a support character, meaning she doesn’t attack directly, unless she needs to, and is more focused on keeping her team strong, healthy, and connected. Now, you may be thinking: “this doesn’t sound like Lance at all!” but let’s consider his character for a moment. Lance is well-rounded guy for the most part, dubbed a ‘jack-of-all-trades’ on the Voltron Wiki page, and for good reason. He is able to adapt to his surroundings quite easily, while the rest of the team may become panicked or rash in their decision making (I’m looking at you Kogane.)

Lance thinks of himself of as a fifth-wheel “or seventh if you count Allura and Coran”, but we all know that isn’t true. Lance isn’t a wheel. He’s the goddamn hub! He’s the axle that keeps the wheels connected! He’s the-ok that’s enough wheel metaphors, you get my point.

Lance is what keeps the team together.

Mercy is what keeps the team together. You rarely see a team (a good one anyways) rush onto a point without their healer close by, and if they do, they usually don’t do all that well.

Still need convincing about Lance being the glue of the team and thus Mercy? Sure!

Mercy’s staff is accurate af. She just needs to be within range and her healing/boosting powers are able to hit their target. Sharpshooter much?

Mercy’s ability to revive (her ultimate) can be related (with some imagination) to Lance’s ability to increase team morale, thus ‘reviving’ team spirit. It hasn’t been explored much in the show, but I know Lance’s character well enough to think of him as the more than the comic relief. He knows how to judge a situation (somewhat) and alter his attitude to help the team in said situations, usually through bad jokes, thus lifting team moral and keeping them from growing apart (like I think might happen in season 3, with Shiro missing and all that. Fingers crossed for some Lance development).

This last one is a bit of a stretch but I’m going for it anyways:

Without Lance, Pidge and Hunk would not have rushed down to save Shiro. I mean, Pidge may have, but she would probably have missed Keith rescuing Shiro on account of her short ass legs, and the whole story would have gone to hell (or maybe not but who knows). Lance was the first in the room. He got there before Hunk and Pidge. Why?

He knew that mullet. He didn’t want to lose to it again. Keith is/was his rival, and there was no way in hell he was going to be second to that guy again.

(Also his legs are long af that boy probably Naruto ran down there.)

This could be related to Mecy’s ability to “angel glide” towards members of her team, knowing when they are in danger etc etc.

You could also say that Lance has the ability to sense when others are in danger. We’ve seen it several times throughout the show, and this is similar to Mercy’s ability to see which characters need healing on her team.

There’s also the fact that Mercy is usually always targeted first (since she’s healing and what not), and have we not seen Lance get into a number of perilous situations when his team isn’t there to help?

The healing pod incident, the air lock, the bomb, the being-tied-up-by-pretty-ladies, you get my point.

Without their team for support, both characters sort of breakdown. Without the hub, the wheel won’t turn, and without wheels, what’s the point of the axle (do these even make sense???)

I’m sure many of you will still disagree with my choice, especially as Mercy, so let me try one last tactic:

Lance with wings.

Like…can you not see him rocking Mercy’s Valkyrie outfit? And don’t even get me started on the catch phrase “Heroes never die”. It’s got Lance written all over it.

|Hunk| |Keith| |Lance| |Pidge| Shiro| |Allura| |Coran| 

She has a certain presence about her. It’s hard to explain– you’ll usually see her alone in a crowd and it’ll makes you curious. Once you approach her though, she’ll give you a smile and you can tell she’s a little awkward, kinda shy, but open and friendly as well. Something about the way she carries herself makes you feel comfortable to be yourself. Your first impression would probably make you think she’s this bubbly, carefree soul. She’s very good at adapting to her surroundings– but if you take another glance, you’ll notice something more.

It’s subtle, you won’t find it if you aren’t really looking. If you’re lucky, you might catch a glimpse of who she really is. Maybe in something she’ll say in passing or when you make eye contact with her. She’s been hurt many times, encountered hardships and a lot of unnecessary negativity in her life. She has a past, a chapter in her life she doesn’t speak about. She overcame all of it and wears a smile on her face. She will talk and joke and befriend you, but you’ll never really know who she is beneath the surface unless she chooses to show it.

More often than not, she won’t.

—  aftertheam, Perspective of me from someone else’s POV

I always find it funny when books like Harry Potter and Percy Jackson get crap for being ‘witchcraft’ and ‘anti-christian’ but you know who no one ever talks about? Phillip Pullman and his masterpiece His Dark Materials trilogy. Some of you may recognize the first book’s title, The Golden Compass from the awful movie adaption, but seriously those books are so so good and full of badass witches rebelling against the vadican for mutilating children, gay ass angels who join the rebellion so they can be free to love each other, an ex nun who escapes the oppression of the church to pursue a life of science, a little girl who is so good at manipulating she overthrows an entire empire in one day, and a 12 year old boy who murders god with a knife

The signs as characters & beasts from Fantastic Beasts and Where to Find Them

Aries: The Niffler

A small, independent, and defiant creature that has an obsession with anything shiny. Absolute scene-stealer, everyone wants one but not everyone can handle one.

Originally posted by hardyness

Taurus: Swooping Evil

A large creature, much like a butterfly, emerges from cocoon and kicks major ass. 

Originally posted by nonmugglegal

Gemini: Jacob Kowalski

A really lovely human. Friendly, social, and incredibly adaptive. Also, he makes some damn good pastries.

Originally posted by trechos-of-books

Cancer: Pickett, the Bowtruckle

The Most Adorable™. Has slight attachment issues, but covers it up with sass. Is willing to fight for loved ones. The creature version of (ง •̀_•́)ง

Originally posted by hardyness

Leo: The Occamy

The prettiest of all. Fiercely protective, can change size depending on the situation.

Originally posted by nonmugglegal

Virgo: Porpentina Goldstein

Boss bitch. Will always fight for what’s right. Sometimes acts like they know what to do, but they don’t. Clever and determined as hell.

Originally posted by movrings

Libra: The Thunderbird

Can sense danger. Always ready to get shit done. Just wants to go home most of the time. So statuesque and pretty. Reliable as hell. 

Originally posted by newtinascamander

Scorpio: The Demiguise

Mysterious as hell, always knows what everyones thinking. Can literally turn invisible when stressed. Super cool grandpa.

Originally posted by hardyness

Sagittarius: Queenie Goldstein

Living ray of sunshine. Seems like she may be stuck up but as soon as she speaks is an absolute delight. Smart, clever, and adventurous. 

Originally posted by love-isthebestthingwedo

Capricorn: Percival Graves

Can’t quite tell his motives until the end. Dedicated, will stop at absolutely nothing. Calculating and powerful.

Originally posted by darthzvader

Aquarius: Newt Scamander

People that first meet him think he’s quite odd, but he’s the most kind-hearted person on this planet. Cares deeply for loved ones, curious, truthful. Quite the rambler, but who cares he’s adorable.

Originally posted by newt-and-pickett

Pisces: Credence Barebone

Please, just someone give him a hug and fix the injustice done to him. He is a sensitive boy and deserves the care. Long story short, if pushed to the edge he will SNAP.

Originally posted by crewwt

Good News

Moles are small mammals adapted to a subterranean lifestyle (i.e., fossorial). They have cylindrical bodies, velvety fur, very small, inconspicuous ears and eyes,[1] reduced hindlimbs and short, powerful forelimbs with large paws adapted for digging.

Things you shouldn't say to the Signs
  • Aries: "Simply follow the rules" / Aries often feel a deep need to explore and wander and do as they please, & these urges come in waves they can't control.
  • Taurus: "Change your ways" / Taurus have come a long way to build who they are, and will not easily adapt or adjust their identity for no good reason. Accept it.
  • Gemini: "Stay still" / Gemini is known for their (nervous) energy and involuntary restlessness. Drumming fingers, tapping, fiddling. There's so much to contain.
  • Cancer: "Stop caring" / The Lunar baby, Cancer, is filled with emotions at all times. Without feelings, the Cancer feels empty and devoid of life. Soulless.
  • Leo: "You won't make a difference" / Leos were born to be warm and bright, to cherish and be cherished. So remember them for all the warmth they always give us.
  • Virgo: "No need to try your hardest" / Virgos are never satisfied until they've done their best. No matter what they're doing- their work is a piece of them.
  • Libra: "You won't understand" / A Libra will often try to connect with you, converse and reach out. Almost like a reflex. Don't shut them out. They'll understand.
  • Scorpio: "Just let it go" / Scorpios hold on tight to the things that make them feel complete, and wanted, and not broken. They need time to heal- and that's OK.
  • Sagittarius: "Sugarcoat it a litle" / Sagittarius are often tremendously in love with the idea of truth. They search for it everywhere- specially within their words.
  • Capricorn: "You're a disappointment" / Their work-orientated mind and pragmatic energy are fueled by deep rooted insecurity & fear of not being or doing enough.
  • Aquarius: "Do it my way" / The person who wanted to do something but won't anymore because you told them to is an Aquarius. Close the door, they'll tear the wall down
  • Pisces: "You can't save the world" / Nothing hurts a Pisces more than being powerless when it comes to the suffering of others. They'll never give in to indifference.

Flowey Is Not a Good Life Coach - Chap. 3, page 1

Previous    |      Top    |      Next

A new chapter has commenced! ok. So uh colors are the bane of my existence I’m pretty sure. I tried to go with a color palette, but then I deviated away from that, and then I took a break to cry on the floor in fetal position because COLORS DON’T LIKE ME! Well uh they aren’t actually that bad, but I do struggle a bit with them. And that’s part of the reason I’m doing this comic in color; it’d be much easier to just make it black and white, but I want to improve my coloring.

Also I hope you like Undyne’s little invoking of Mettaton :)

Btw if you want to make a comic dub of this, please go ahead! I totally encourage it. Just please give credit to me and unrestedjade.


“He is tired of life. He has madness in his soul.”

Alexander Siddig as Mr. Shaitana, “Cards on the Table” - Agatha Christie’s Poirot [2006]


Mike Mignola’s comic adaption of Bram Stoker’s Dracula (1992)

Flowey Is Not a Good Life Coach - Chap. 2, page 2

Previous    |      Top     |      Next

I’m starting to realize that it’s important to not be perfectionist on these pages… I’m never fully satisfied with the result, but I can’t spend forever working on a single page. This is a good challenge. Just gotta get more efficient, I suppose.

See progress shots for this page here.

University Survival Tips
  • Instant rice is your friend
  • Srs tho it will save you so much time
  • Actually go to your contact hours
  • Keep a stockpile of tinned pulses in your cupboard
  • They’re a v inexpensive source of protein
  • Plus you can make them into a meal in about 10 minutes
  • Always have a ‘crisis meal’ prepared
  • Like a frozen pizza or a can of soup or something
  • Something really quick and easy for evenings when it’s all going tits up
  • Keep hydrated
  • Cliche yeah but seriously it will make you 100x more productive
  • Try to stay like semi organised and on top of things
  • Will save you so much stress
  • Sometimes you’re going to have to stay up until 1am working
  • That’s okay and normal
  • But do try to keep some kind of sleep cycle going
  • Pick 2 or 3 things to do outside your degree
  • Like join some societies or do something with your uni’s student council or just anything that isn’t directly to do with academics
  • Balance is important
  • Sometimes it will all get a bit much and you’ll have a good cry
  • That is very okay
  • Uni is hard and adapting to uni is hard and I promise we’ve all been there
  • You wouldn’t have gotten in if you weren’t academically capable
  • Don’t be afraid to ask for feedback
  • If your lecturer puts the slidesets up somewhere in advance and you make written notes please please please print them off ffs
  • Much easier to annotate a handout than try to scribble down what’s on the slides
  • And that way you will actually hear what the lecturer is saying
  • Don’t be afraid to talk to your tutor
  • They’re there to help and I guarantee you will not be the first or last student to come to them with whatever issue you’re having
  • Take care of yourself
  • You will be fine
  • You got this

The thing about fashion Nino is even if he didn’t need to do it to cover for Adrien, even if it still made him really uncomfortable and he’d rather just wash his hands of it–there’s still the fact that he’s earning the approval of Gabriel Agreste.

Which yeah, he could give two shits about, it might even disgust him a little, but–it’d make things so much easier on Adrien if his best friend wasn’t banned from the family home. And Nino would do anything for Adrien.

A Series of Unfortunate Events : the recipe to a good adaptation

This is a short analysis of the recent adaptation A Series of Unfortunate Events by Netflix. I will not mention everything here, it would require much more time and analysis but here is a general appreciation. Careful for spoilers !

Adaptations are quite tricky to accomplish because being true to the original work while bringing novelty to the piece is not so easy. The best adaptations are often the ones that manage to channel the spirit of the original work. A Series of Unfortunate Events is a very successful example of this. It was already visible in the first trailer where Lemony Snicket actually walks on the set of the filming to tell us not to watch this series. Right here, you have three core elements of the original series : our narrator-character, the breaking of the fourth-wall and the plea not to look into this horrific story. That last element actually is a known way to catch the reader/viewer’s attention and make him want to know more.

When it comes to A Series of Unfortunate Events, the character of Lemony Snicket is crucial. Therefore the adaptation needs to be perfectly true to his features. As a child, I really believed Lemony Snicket was this mysterious author hidding from malevolent authorities. The fact that Lemony is actually out of the story ,since he is the author/narrator, and a full part of it builds the whole myth around this series.
When I saw the movie, I did not get that feeling of mystery around Lemony mainly because it is not cleary explicited that he is part of all this : the viewer doesn’t see on-screen any important hint that Lemony is a central character of the story, he is presented above all as the writer.
In the Netflix series, Lemony is the first person the viewer visually encounters, just like in the books. The fact that you can see him entirely makes him a reassuring presence throughout the show : he is your guide. The show stages this aspect very cleverly by blending Lemony in the situations the Baudelaires find themselves in, usually through his costume.

Thanks to this process, the narrator’s role is fully depicted. A narrator that addresses directly to the reader/viewer is usually out of the story and Lemony is indeed “out” since he is telling the events. But Lemony is also “in” as an important character. The show drops hints along the way which keep getting bigger gradually : his investigation, the letters to Beatrice, the fact that he is being chased, among other things, and of course the reveal of the picture with Olaf in the last episode.

All these proofs show that Lemony really is involved in this story. It is very fortunate that they kept the dedications to Beatrice at the beginning of each segment of the story because she is the one who ties Lemony to the story. She actually acts as his muse, she is the main reason why he writes, the name Beatrice being a reference to Dante’s own muse.
Since he is an « in-between » character, literally the bridge between you and the story, Lemony is the one who constantly breaks the fourth-wall. This aspect is so crucial in A Series of Unfortunate Events. It allows Lemony to act as the antic chorus or Prologue : “If you are interested in stories with happy endings, you would be better off reading some other book. In this book, not only is there no happy ending, there is no happy beginning and very few happy things in the middle.” (The Bad Beginning).
With those few lines, the essence of the plot is completely laid before your eyes, just like the ancient tragedies. In the series, apart from those lines, the opening song has the exact same role : “Every single episode is nothing be dismay.”
The breaking of the fourth-wall is also at the core of both series because story-telling mecanisms are explained through it. In the Reptile Room, Lemony explains the dramatic irony which is then again an aspect of the antic tragedies. As I remember it, the book series crossed the fourth-wall to teach something to the reader : a word, writing techniques and less straightforwardly, literary references. All these elements were fortunately brought into the show as well.

Now Lemony is mainly the one to break the wall, as allowed by his narrator status. What is unsettling for the viewer is when Count Olaf breaks it, usually to advertise the TV show and stare at the camera for a couple of seconds. This leads to the other important aspect of an adaptation : the creativity. The writers did not only represent Olaf, they actually add depths according to the new medium : what would Olaf do if he was in a TV series ? Break the fourth-wall and sing its opening sequence !

A short word on the amazing cast, especially Neil Patrick Harris who pulled out a very good Count Olaf. This character is very complex to play, he needs the right amount of villainy, humor and the talent of an actor who can play a character playing other characters. Jim Carrey brought too much of his own eccentricity to the character and you saw more of the actor than of the character. Neil Patrick Harris really understood and nailed all of Olaf’s facets.

Hence adaptations would be rather dull without creativity and novelty.
Sure a lot of dialogues are actually taken word by word from the books because they are good as they are but an adaptation needs to adapt precisely even more when the media is different.

A book and a  TV show are of course very different mainly because of the images. In a book, a description can only be completed by the reader’s imagination. In a show, what you see allows very little space for imagination. This is why a successful adaptation is one that can get the spirit, the ambiance of the world, conveyed by the original words, and transcripts it on screen. From the language of worded images to the language of filming.

The unsettling ambiance, the faded colours and surreal pastel imagery are very fitting for the Baudelaires’ story. The main aspect of the series is its dark humor and stories that you find rarely in children’s book : one death if not more per book, usually a gruesome one. The TV show manages to render the baudelairian world : this very specific atmosphere, the feeling of being oppressed by all the places in which the Baudelaires find themselves.

Finally the most important aspect of an adaptation is that it must appeal to all audiences.What is complicated about making adaptations is that they are received by two different audiences : the one who knows the original material and the one who doesn’t and their first interaction with the original universe is through the adaptation.
That’s why getting the atmosphere right is so important, it shows the specificities of the work in another way which should not “betray” the original story.
An adaptation is full of references that will be immediately recognized only by the ones familiar with the original piece. These references show the adaptors love for the original work and also creates a complicity between them and the well-aware viewer. Which book lover did not scream at the sugar bowl in episode 2 or at those four simple words : the world is quiet here ?The beauty of references is that they are hidden, they could be seen as completely normal by an unaware viewer : the scene of the sugar bowl seems very innocent.

It allows the adaptors to play on what the reader already knows. Take the first appearance of the Quagmire mother and father: most of the book readers thought them to be the Baudelaire mother and father even though they know very well it is impossible. This builds up until the revelation in the first part of the Miserable Mill. Not only this plays with the well-aware reader but also stages already the Quagmire trio and most of their backstory. Being already intertwined since the first episode with the main story, they meet naturally at the end of the season and do not appear previously unmentionned like in the books.

As thrilling as this is, if the adaptation is only met for the experts, it won’t be a total success. An adaptation also needs to speak to new viewers who have no knowledge of the original work. This is why there is a need for balance of references so the newcomer will not spent his time on Wikipedia trying to figure out what happens. How the series introduced right away the Quagmires is actually rather clever : it allows the newcomer not to be lost in all the key characters.

Lastly, this show really catches the core humor of the original work by playing on the fact that it is an adaptation and therefore needs to depart sometimes from the original sequences. At the beginning of the Miserable Mill (episode 8), Mr. Poe freaks out because the Baudelaires are gone and in the middle of his panicked speech, he says : “It’s off-book !’. And indeed it is, because in the books the Baudelaires don’t go to Lucky Smells Lumbermill by themselves but are brought there by Mr Poe. An adaptation makes choices and the show plays on that aspect.

Of course, this show would need a 300 pages-long essay because of all the references and allusions not only to literature but also foreshadowing the main story. This show completely smashes the movie adaptation which did not manage to really transcript well neither the atmosphere nor the characters.

Remember, an adaptation is not a search of perfection because it will never be exactly like the original material. The change of medium requires changes in the story and the story-telling. The intelligence with which the choices are made makes all the difference between a good and a bad adaptation.