and why we make a great team

The Great Wall (2017)

hello everybody. Bonafide Chinese person, here, raised in a Chinese household with Chinese parents born on the mainland, to talk about This Movie

First things first, GO FUCKING SEE IT. This movie is a work of art and you’ll encourage more diversity in Hollywood by supporting a Chinese director and production team. SHOW people that we want diversity by making this movie a hit.

Now I’m going to tell you why you’re going to go see it, and hopefully I won’t get arrested. I don’t remember any of the names except that Matt Damon was Williams something or other. They aren’t really important.

  1. I’ll put your first worries at ease. Matt Damon does not save the day. The badass lady in the blue armor does. But Matt Damon does help in a major way. He is the main character, after all.
  2. There are a total of 10 white people in the movie. Only 3 play a substantial part, and only 2 survive.
  3. The movie states right at the beginning that it’s based off a legend. Stop being snarky about the wall keeping out the Mongols.
  4. No romance.
  5. Speaking of the lady in the blue, she’s commander of a squad of leaping warrior women. Holy fucking shit, am I right?

I am in no way a film critic, so I can’t comment on the movie’s general quality. But please please go see it. I can answer any questions in private you might have, just send me an ask. Also, do everybody a favor and hit reblog for me.

anonymous asked:

Any advice on how to write a heist story something like oceans Eleven?

Well, you can start by watching Ocean’s Eleven, and Ocean’s Eleven, and then Leverage, and then Burn Notice, and then The A-Team, and then Mission: Impossible, and then all the other heist stories like The Italian Job or Heat. Watch, read, uncover as many stories about criminals as you can from fiction to nonfiction to reading security analyst blogs. Read the spy memoirs, the thief memoirs, the fake ones and the real ones. Check out magicians, hypnotists, card tricks, and sleight of hand. Watch the making ofs and director’s commentaries looking for clues behind the thought process of these stories. The hows and the whys as you look into the research they did. Burn Notice, for example, is famous for using stunt props and technological rigs that work in real life. Like using cell phones to create cheap bugs on the go.

The worlds of criminal fiction and spy fiction rely on being able to present (or convincingly fake) a world which feels real. A heist is all about exploitation. So, you need a world with security structures to exploit. You’ve got to know how things work before you can craft a way to break them. Social engineering, hacking, and every other criminal skill is about breaking the systems in place. So, you’ve got to get a baseline for how law enforcement and security analysts work. What security systems are set up to look like. The ways we go about discouraging thieves. Better yet how people behave. Real, honest to god human behavior.

So, you know, pick somewhere in order to start your research. Get an idea of what you want write about stealing, then learn everything about the object, the museum, the city, the country, and its customs as you can.

If you’re setting a heist in a futuristic or fantasy setting then luck you, you get to make all of it up.

Learning the plot structure and conventions of the heist genre is the first step. This means watching lots and lots of heist movies, shows, and reading books. Over time, as you become better at critical analysis, you’ll begin to see specific story structures and character archetypes emerge.

The Heist Story is a genre. Like every other genre, it comes with its own structure, cliches, archetypes, plots, and genre conventions which necessitate the narrative. The better grasp you have of those, the better you’ll be at writing a heist.

For example, a heist story like Ocean’s Eleven relies on a collection of thieves rather than a single individual. The character types are as follows:

The Pointman - Your planner, strategist, team leader, and the Jack of All Trades. Can also be called the Mastermind. They’re the one who can take the place of anyone on the team should they fall through. They’re not as good as a specialist, but they’re very flexible. Narratively, he plans the cons and subs in where he’s needed.

The Faceman - Your experienced Grifter, here for all your social engineering needs. These guys talk their way in.

The Infiltrator - Your cat burglar or break-in artist. Basically, the conventional genre thief. Your Parker, Catwoman, Sam Fisher, or Solid Snake. The stealth bastards, they’re all about silent in, out, and playing acrobatic games with the lasers.

The Hacker - The electronics and demolitions specialist. Usually this is the guy in the van overseeing stuff remotely. Your Eye in the Sky. Their skill set can be split up and swapped around as necessary.

The Muscle - The one who is good at fighting. They’re combat focused characters, usually with mercenary and special forces backgrounds. Though, that’s optional.

The Wheelman - The one who handles the getaway. They’re your often overlooked transport specialists. It’s not just that they can drive, they’re skilled at getting lots of people around, figuring out how to move your valuables, and exiting hostile cities or countries undetected. They get the team in and they get them out.

For an example of these archetypes, I’m going to use Leverage. Nathan Ford, The Pointman (technically, he’s written like a Faceman). Sophie Devereaux , The Faceman. Parker, the Infiltrator. Hardison, the Hacker. Eliot, the Muscle. They all take turns being the Wheelman.

Other examples like Burn Notice: Michael Westen, the Pointman. Sam Axe, the Faceman. Fiona, the Muscle. They all take turns with explosives, Michael will invariably take all the roles during the course of the show.

Ocean’s Eleven has multiple variants of these archetypes, all broken down and mixed up.

You can mix and match these qualities into different individuals or break them apart like in Ocean’s Eleven, and more than one character can fill more than one role, but that’s the basic breakdown. For example, your hacker doesn’t need to be a guy in a van overlooking the whole security grid. One guy or girl with a cell phone can sit in the lobby of a building with an unsecured wireless network and crack the security. Welcome to the 21st century. The skills don’t necessarily need to take the specific expected shape.

What you do need is the basic breakdown:  You need someone to plan the con, you need someone to be your face or grifter, you need someone to break in, you need someone to watch the security/electronics, you need muscle to back you up, and someone’s got to cover the getaway.

These shift depending on your plan, but this is the expected lineup for a heist narrative. The first step of a heist narrative is not the plan because we don’t have one yet. We’ve got an idea. Pick your target. Maybe it’s a famous painting. Maybe it’s a casino. Maybe it’s a rare artifact from a private investor’s collection loaned to a museum for a short period of time. Maybe it’s art stolen by the Nazis during WWII. Whatever it is, figure it out.

The next step is simple. If you want the thing, you’ve got to find a way to get it. This is a big job, your standard thief won’t be able to pull it off alone. So, you gotta go recruiting. Get your team together. Make sure to establish the goals of the different members for joining. Who they are. Their pedigree. One might be an old flame or an old enemy. This is where we lay out some character driven subplots.

When everyone’s together, we’ve got to lay out the plan. Before we have a plan though, we need to establish where the object is and the issues in getting it. Why this has never been done before. So, what are the challenges? Invariably, an object worth a great deal of money will have a lot of security protecting it. Figure out what that security is, who the item belongs to, what sort of retribution do the thieves face beyond what they might expect. Lasers, pressure plates, cameras, security, other career criminals, mob bosses, the rich and powerful, whatever.

After that: How do you get it? Then you’ve got to plan the con, while taking everything into account.

Then, We prep the Con. There will be steps to take before the con can be put into place, your characters taking their positions in plain sight. Stealing whatever pieces you need to make it work. Casing the joint. Etc.

Then: Run the Con. This is the part with the actual stealing. Better known as the first attempt. Things go well, there may be a few mistakes, but things are going well and then we…

Encounter Resistance. While running the con, something goes wrong, pieces fall apart, the thieves come close to success but the object gets moved and they suddenly need a new plan. New information may pop up, it may be one of your artists was running a con of their own separate from the rest. If there’s a double cross in the works then this may be when and where it lands.

We’re ready now, so it’s time hit up: Steal the Thing, Round Two. Your characters put their new plan into play and get about thieving the object of their desire.

Lastly: The Get Away. This is the part where your thieves make for the hills with their stolen treasure. This can be short or long depending on the kind of story you’re telling and other double crosses may occur here. It could be the end of the story or the beginning of a new heist.

Heist stories are like mystery novels. They’re all about sleight of hand and misdirection. You’ve got to keep just enough information on the table to keep your audience on the hook, and just enough information off the table to surprise them later on the twist. Yet, when they go back to re-read the novel again, they’ll find the answer was there all along. They just didn’t see it coming.

If anything, learning how to write a well-done heist or a mystery or any kind of novel in this genre will teach you a lot about how to manage your foreshadowing and create superb plot twists. Like any good con, you need to lay out all the conflicting pieces where people can see them, let them draw their own conclusions, withhold the critical context, and then hit them with the whammy.

Like lots of audiences, new writers (and even some old ones) can get distracted by the shock and awe. They see they’re impressed by the conclusion, not the lay-up. If you want to write any kind of fiction, you need to learn to see past the curtain and pay attention to the critical pieces leading into an important moment rather than the moment itself.

Good writing isn’t modular, you can’t just strip out pieces and run with them because you’ll end up missing the crucial, sometimes innocuous pieces that ensured the scene worked. Like the Victorian Hand Touch, every moment between the two leads and most of their scenes with secondary players are working for that singular instance of eventual, gleeful catharsis.

If you’ve got a plot twist coming in your novel, every sentence from the second you start writing is working towards it. You start laying out your pieces, funneling in your tricks, and playing with misdirection. You may have multiple twists, to cover yourself, divert your audience, congratulate them for successfully guessing your ploy, and reassure their initial suspicions before catching them again on the upswing.

The clever writer is as much a con artist as their characters. The only difference is the target of their con is their audience. The tricks in their bag are narrative ones, and they work with the understanding that it doesn’t matter if someone guesses the end so long as they’re entertained by the journey. A great story stays entertaining long after the audience has figured out all the twists.

So, don’t get caught up in Red Herrings and frightened about not being able to outsmart other people. Tell a good story with conviction and heart about a bunch of crooks out to steal their heart’s desire.

That’s all there is to it.

-Michi

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I love how it shows that Jin really can be a big mood booster for Namjoon.

Namjoon really thinks a lot about things, because he’s so smart, but some times he can spiral into seeing something good as a flaw.

Something that really moved me was this part when they were talking about their struggles at the beginning and how would it be if they had to go through it all over again and Namjoon was kind of frustrated and said “Why do we always talk so much about this!!”

And Jin calmly said “Because it’s not gonna happen”

I felt like in that moment, Namjoon saw things from other perspective instead of getting worried/frustrated about it.

Namjin make a great team because I think Jin is a simple minded person that says “It’s going to be okay” and he trusts as he works. Namjoon on the other hand, worries as he works.

Together they get the mood and the maturity to think and overcome.

.

Julian sees the glass as half full. I see it as half empty. That’s why we make a great team. Mark, on the other hand, just drinks right out of the bottle. Cristina wonders why it has to be glass. And Diego usually breaks the glass by putting his feet up on the table.
—  Emma Carstairs, describing life at the L.A. Institute 

anonymous asked:

How many vehicles has Steve wrecked and did this pattern start before he got the serum or after?

thankfully, he only really started wrecking stuff properly after the serum. he’s always been really good at using his surroundings to his advantage in a fight, and he had surprisingly good spatial awareness for a half-deaf colorblind guy.  which was good because he had pretty much nothing but that and pure bullheadedness going for him when it came to actual fisticuffs. well, that and me. i was usually there to fish him out before things got too nasty. he always hated that. 

plus, steve’s fights when he was still a brave little toaster and not a brave industrial refrigerator were mostly backalley fistfights, and therefore rarely merited the throw-a-motorcycle-at-it method of conflict resolution. 

but after? i have no idea how many vehicles he’s wrecked. im told that one of the first things he did was rip a door off a taxicab to use as a shield, which, typical. and then he was hoisting aloft motorcycles loaded with ladies in the star spangled show, and ive got no clue what happened with that. during the war he went through six or so bikes, and if you wanna count enemy vehicles, it seemed like we were blowing up or stealing somebody’s ride every other week at least. 

and it seems that the future has not slowed him down on that front. from what ive heard and seen, he’s continued his one man war on all things horsepowered. 

frankly at this point he’s probably killed as many vehicles as i have people. 

Anything For You

((A/N: So I had to edit some of the request a bit to make it work and not be a two-parter, I hope Anon doesn’t mind too much. But mutant reader is always a fun one, so I don’t mind. It’s also my first go as writing for Logan, so be gentle!

Request:

Can I get a Logan x (mutant)Reader, where the reader thinks that Logan hates her since he’s always so rude and gruff and yells at her during missions, so she keeps her distance from him, eventually deciding to leave the X-men. And then when Logan realizes that she left, and why she left, he goes to get her and bring her back home? Lots of angst, then ending in fluff? Fighting and love confessions? Could you make it work? Or is it too much?? Sorry to be a bother!

Pairing: Logan x mutant!Reader

Word Count: 2.7k

Warnings: Language, clearly. ))

“Really? You thought just shootin’ shit with electricity was the solution here?” Wolverine’s voice had risen to an unreasonable decibel level as he got closer, claws withdrawn but still clearly defensive.

Your eyes narrowed, fists clenched, “It was the only option! Iceman was out of the way and Shadowcat was already intangible, no one would get hurt!” Your own voice had risen to match his, stepping closer and closing the little gap that was left.

Keep reading

marinajpelegrini  asked:

What do you think about Lance's Vlog? Like... they could have added a lot of things like his family or that his miss earth... or his insecurities! Not justa about the girls! Also... I LOVE YOU ART! IT'S SO BEAUTIFUL!!!! (sorry for the grammar mistakes btw, i'm brazilian and portuguese is reaaly different from english and i'm not fluen so... sorry)

i like his vlog. i like how lance loves well.. love. i do understand why people are upset with the comic relief and how they didnt really talk about him and i do think they should of, however these vlogs are made to be ads. these ads are supposed to make people who dont already know what voltron is, to go and watch it. we all know lance isnt just a huge flirt. he has great skills we all know, but people who dont know can find out by watching. like “oh hey this guy isnt all flirty and only cares about girls. he actually loves his team and has incredible aim with his bayard, ect.” the show is for development, these vlogs are not. thats just how i see it. im not saying you cant be upset if you are because i too want to see lance have the development he deserves but the show is where it matters.

Amren: Feyre sees the glass as half full. I see it as half empty. That’s why we make a great team. Cassian, on the other hand, just drinks right out of the bottle. Mor wonders why it has to be glass. And Rhys usually breaks the glass by putting his feet up on the table.

4

Representation: Make Your Own, Vote with Your Wallet

Here’s a comic that I drew up to explain my grievances with these counter-arguements I’ve seen popping up. I’ll write more in text here.

I don’t want to stop anyone from making their own games. Making games is a hard, incredibly rewarding creative task, and you should never stop making games, ever. You want to see a game that is totally your thing, your own brainchild go out into the world for people to enjoy? Do it. Make that game, and share with the world more culture than ever before. There is nothing stopping you from making your own game except time and effort.

But one person’s games, that’s just one voice in a million. As a gay person (and I cannot speak for anyone else but my own gay self), I grew up without any gay protagonists, with the constant background radiation of “Straight Is Normal”. Every romance, every love interest, every single character who wasn’t a joke or a villain, straight. I couldn’t share a part of me that was vitally important to me, and nobody knew what being gay meant, since there were no positive gay characters in the media we were consuming. If I made a game with a gay main character, that would still be one game in tens of thousands. It wouldn’t reach a wide audience, and there wouldn’t be the presence in media that is sorely required. I would need to have a marketing campaign, and millions of dollars I don’t have to reach the audience who really needs this representation.

Because this isn’t about one game, this isn’t about any particular game. This is about culture in general. Children will grow up playing straight leads and create straight leads in their own games. They won’t think “Hey, maybe I should make this lead gay” because that’s not what they grew up playing. We imitate what we’ve learnt, and we create building blocks with which we craft stories. The gun toting veteran soldier is always male, the princess who needs saving is always female, the hero is always straight and always gets the girl.

But what if we made sure that wasn’t the case? What if the hero had a gay love interest, what if the princess was a dude, what if the gun toting vet was a lady? What if we explore these avenues, construct a more complex narrative and not just rehash the same narratives we ourselves played as children?

We shout loudly for this to happen, decry wasted opportunities because we need to. Because if we don’t bring it to the attention of the people making the games, nobody will. We cannot remain passive consumers - “only play the games you like” only counts if there are games that represent us - and if there are parts of those games we find hurt us, we can still love those games and recognise the hurtful bits. I do not want to boycott games with problematic elements - that will ensure only bad games get made. How do you make money speak the necessary things we have to say?

(As a footnote, I will explain how money talks. Money is a language all of it’s own, and it is a very simple language. If you give someone money for doing something, you are saying “I support the thing you are doing”. If you do not give them money, you aren’t really saying anything, as it could be anything from “I don’t support this at all!” to “Eh, I wasn’t invested enough to lay down money” to “I wanted to support you, but I couldn’t.”. Now, if someone made a really really good game, but it had an insulting or degrading depiction of your group inside it, and you really liked the game, would you buy it? Would you not buy it? If you bought it, you are supporting the status quo - they will continue to do anyway. If you didn’t buy it, they might think “Wow, we need to not do a game like this ever again” and not even consider that the problematic elements were the problem. Money is too crude of a language to get this across.)

So, we are left with the only avenue that is viable for us: Actual Dialogue and Critique. Where we are free to say “I really liked this game, but it had problematic elements in it”, and discuss the things that went wrong in the game. Now, critique is not the same as censorship. With censorship, you remove the media from the public’s eye as soon as possible, so that their eyes are not offended by it. I do not want this. I cannot stress enough that I do not want this. Censorship is a regressive and counterproductive tactic, which does not help us learn from our mistakes and missteps. If we censored every piece of art that had mistakes, we would stagnate.

Critique, on the other hand, is the honing of skills and behaviour through discussion of the implementation of such behaviour. Just like an artist can recieve critique on anatomy,a writer can recieve critique on representation. A poor artist draws what they think something looks like, a poor writer writes what they think something acts like. And just like a poor artist can avoid drawing body parts they have no skill in drawing, a poor writer can avoid including people they know nothing about. Representation is simply another way we can improve the quality of our games - with proper representation comes richer, more varied casts.

I want to stress again that critique is forward thinking, not backward thinking. When we say, say, that Assassin’s Creed: Unity has four identical white males and that’s boring and samey - it is a critique of the game itself. It is a flaw that perhaps Ubisoft can learn from, and if we didn’t point it out, they would be none the wiser about it. Ignoring flaws is just as bad as censorship - both ways we learn nothing about it. Would you like to see a game industry filled with nothing but grizzly Doom Marines? If nobody pointed that out, the industry would blindly make more Doom Marines, because that’s what would sell. But once we’ve pointed out the samey Doom marines, or the four white lads, future games can be made that have an eye to this critique, and it can only benefit everyone. Sure, there will still be problematic games, but we are only human, and we are still allowed to enjoy those games. But I think the game industry can be better, and it needs to be told where it is going wrong. Those games that it creates, they will still exist for you to enjoy. They will always exist, and they will be fun.

I know you want creative freedom, and I do too, but the industry makes a profit from creating games geared with marketing and not just a little cynicism. By having better representation, we open up avenues for more voices, more varied creators to have their say, not just the ones that “sell at the moment”, as executives, the ones that are really in charge of the creative decisions, are a frightened and conservative lot. If we show them that no, we won’t stand for this lack of representation, they will have to reconsider their cynical and conservative marketing avenues. And we can’t do this by money alone. Money can only take us part of the way there, and for the rest of it, the vast majority, we need…

REAL FUCKING DIALOGUE.

I bet even some of you out there are still skeptical, like, why do we even need better representation, games are fine as they are. I’m not here to tell you that you can’t enjoy games. I’m not here to tell you that games aren’t important, or aren’t art, or should be a lame minority rainbow, or that all games should be Captain Planet and the Planeteers, where social consciousness is the deal of the day, all day, every day. I think that would be terrible. But what I do want? I want gay heroes to be just as normal and ordinary as straight heroes. I want black heroes to be unnotable and accepted. I want female heroes, I want trans heroes. I want characters that stick in people’s minds as normal. There is no “Special Snowflake Patrol” wanting to make every hero be an intersection with every marginalised group.

I just… want to be normal. I don’t want to have to shout, or campaign, or point out Straight White Male Protagonist #6753 as being yet another wasted opportunity.

I want to be normal. I want to be able to walk down the street with my boyfriend, holding hands, without people recalling all the regressive stereotypes that they have seen in the media and informed themselves about my sexuality.

I want to be normal. I want to be the hero sometimes, I want to be the villain sometimes. I want great gay romance, I want terrible gay romance.  I want to pick up a straight-to-DVD animated movie and sometimes see gay characters just existing, being gay, without it being notable or anything.

But that will never happen if I just make my own media and just passively consume the media that most closely fits me. Not existing in media I enjoy is not good enough for me. I refuse to be a passive consumer. This solution needs

DIALOGUE.

And if we need to get a little loud to be heard over the roar, well, that’s just what we’ll have to do. Why not join in, so that we can fix this problem sooner, and we can all rest and enjoy making our own games, while enjoying games made by teams of people with far more money than we’ll ever see in our lifetimes? After all, it must be great to see a big budget game with a romance that you can connect with. I wish I could play one!

And even though I’m gay, and not a person of colour, female, or transgender, I still want them to feel the same thing I’m striving for. That’s what equality is all about. I’ll help them, they’ll help me, and if you help as well, to strike up dialogue, to critique, to discuss and deconstruct, we’ll get there.

We’ll get nowhere just passively consuming. Let us

TALK.

UPDATE: My good friend Samael inked the comic for me! It looks much better now!

People are always asking me why I hate football, and I think tonight was a perfect example to explain my feelings.

My dad’s team was losing pretty badly, so I started cracking some playful jokes at him about it, and he got really pissed off. I mean, LEGITIMATELY angry at me. They were really lame, juvenile jokes, too (i.e.: “How many members of your team does it take to change a lightbulb? One, because they’re great at that but TERRIBLE at football hahaha!”). So, really stupid stuff, just to kind of make light of their loss–and he yelled and went off on me for it.

So, why do I hate football? Because of the culture of it. Because people get way too riled up over a GAME, and take throwing around a ball waaay too seriously. Because football players are treated like celebrities, and can get away with a ton of shit because we worship the hell out of them. Because our focus should be on things that really matter, not a sport. Because my high school had TWO football fields and our city spent over $70 MILLION DOLLARS on a new football stadium.

I’m not a huge sports fan in general, but of them all, I absolutely hate football, and it’s for this exact reason.

truth or dare // jeff atkins x female reader

summary: a female reader and jeff atkins are at a party and join a group of people playing truth or dare. the reader is dared to kiss one person in the group, and she chooses jeff. 

warnings: mentions of drinking

word count: 1226

a/n: this is my first imagine on this account so i hope y’all enjoy! please feel free to request an imagine or a head cannon or anything :)

“(y/n)!” you snapped your head around, scanning the crowded room for the source of the voice calling your name. you were at jessica davis’s house; though you weren’t very close with her, you were friends with sheri holland, who was on the cheerleading squad with jess, meaning you were often invited to whichever party the popular kids were throwing that weekend. you and sheri had been separated pretty early in the night, but you didn’t mind– you may not have been a part of the popular crowd, but you were a fairly social person and you got along with most people pretty well. 

someone called your name again, and you finally met eyes with jeff atkins from across the room. your heart did a little skip inside your chest; you’d been paired up for several projects over the years, and you’d developed a pretty big crush on him. he waved for you to come join the circle of people he was standing with, flashing you a grin. 

“hey jeff, what’s going on?” 

“we were about to play a game, you wanna join?” you knew most of the people in the circle: zach dempsey, justin foley, jess, alex standall, a few people from your communications class… you nodded your head and plopped to the floor, sitting cross legged with your red plastic cup in hand. 

“what game are we thinking?” you asked. 

“well…” jess started with a mischievous glint in her eye. “we were thinking of playing a game of truth or dare.” 

“oh come on jess, that’s kid stuff,” justin snorted. jess playfully swatted his chest, rolling her eyes. 

“no, i think that could be fun! let’s do it,” you replied. jeff took a seat beside you, and the game began. at first it was fairly tame– jess had to chug her drink, zach had to take off his shirt– but the group was getting rowdier as the game went on. finally, it was your turn. 

 “(y/n), truth or dare?” alex asked from across the circle, wiping the beer that had just been poured over his head from his eyes. 

 “dare, of course,” you responded with a cocky grin. you were never one to back down from a challenge. 

 “hmmm,” he murmured, toying with his septum ring as he thought. “i dare you to kiss someone in this circle!” you flushed crimson, taking in a slow breath. your mind immediately went to the confident baseball player beside you. you’d imagined kissing jeff more times than you could count, but you were afraid he didn’t return the feelings; you knew how friendly he was with everyone, so you didn’t allow yourself to get your hopes up when he flashed you a smile from across the cafeteria or asked you to be his partner for another history project. you turned your head and met his brown eyes. 

 “jeff?” you spoke quietly. his lips turned up at the ends. “can i, i mean, may i kiss you?” he nodded his head, letting his smile take over his face before he started to lean towards you. 

 the moment your lips met, you forgot about the circle of people watching you. you forgot about the chatter of the party and the bass thumping in your ears. all you could focus on was the warmth of jeff’s lips on yours and what felt like fireworks going off in your stomach. you felt one of his hands reach around your waist to touch the small of your back, the other coming up to hold your face. you pulled away from jeff’s kiss, eyes wide and cheeks turning pink, your lips forming an “o.” jeff’s bright smile was shining down on you. 

 “what…” you began to murmer, only to be interrupted by a hoot coming from one of the boys across the circle. 

 “what a kiss, atkins!” zach shouted, earning a loud guffaw from justin. your face grew hot. 

 “i-i need to get some fresh air,” you stammered, standing up and making your way to the back door. you stepped out into the cool night air, taking a deep breath as you sat on the back steps and looked up at the stars. you couldn’t believe what had just happened– you kissed jeff atkins! you had no clue what would come of this; you were sure jeff just saw it as the dare that it was, but you decided not to think too hard about it for right now. you didn’t want to spoil the night by overthinking the kiss. as you tilted your head back and closed your eyes, the door opened behind you and someone sat down on the step next to you. 

 “(y/n),” a gentle voice said from next to you. you opened your eyes to see jeff sitting beside you. 

 “hey,” you responded. you leaned back on your elbows and looked back up at the sky. “the stars are beautiful tonight, aren’t they?” 

“for sure.” jeff leaned back as well, your elbows brushing against each other. after a moment, he extended his arm to rest around your shoulders. 

 “jeff–” 

“(y/n), i don’t think you know how long i’ve wanted to kiss you,” he admitted. “or hold you close, or hold your hand in mine. ever since the first time we spoke, i’ve thought you were the most brilliant girl i’ve ever met.” 

“jeff, i–” 

“and i was really hoping you were going to choose me when alex dared you to kiss somebody.” 

“jeff,” you started for the third time. “i was worried you’d think i only kissed you for the dare.” 

“did you?” you shook your head. 

“i’ve wanted to know what it would be like to kiss you since we were paired up for that history project freshman year.” 

“the space race,” he laughed. “remember that rocket we tried to build out of gingerbread?” 

“and when it fell over the night before it was due because you ate all the icing, you came to class dressed up as an astronaut and ran around the classroom,” you added, joining in his laughter. the memory of jeff, his face spotted with blue icing, standing in your kitchen next to your crumbled rocket ran through your mind, making you giggle even more. 

 “you were so mad at me that night,” he remembered. 

 “jeff, the project was worth a third of our grade!” 

“and if i’m remembering right, we did really well on it!” you heaved a dramatic sigh, still laughing at the brown haired boy sitting next to you. 

 “you’re right, we did. all thanks to you,” you smiled. the two of you grew quiet. 

“(y/n), i’d really like to take you on a date,” jeff confessed, breaking the silence. 

“well, it’s your lucky day,” you responded. “i’ve always wanted to date an astronaut.” jeff grinned and leaned in to kiss you again. his arms wound around your waist as yours slid up to his neck, one of your hands reaching up to play with his soft hair. you could have kissed him until your lips were swollen and rubbed raw, but he broke the kiss and rested his forehead against yours. 

“i think we’re going to make a great team,” he whispered, brushing your nose with his. 

“i think we already do,” you responded, pulling away to settle in against his chest and look back up at the stars.

The Appeal Of Kyoto Animation

I have seen many people saying how K-On is a cheap anime with no creativity and effort put behind this anime. In this blog I want to try to explain what makes Kyoto Animation so appealing and why this statement is not true.

Kyoto Animation is a popular studio which is known for great animation and their slice of life stories, with their unique character designs and very relaxing atmosphere. The funny thing is that what I just said is something you normally shouldn’t. Let me explain this.

I think we have all seen statements like “The animation from Studio Madhouse is amazing” or “Toei Animation always suck”. The reason why it’s not really fair to say that is because the staff for the most studios are usually changing. You don’t have the same team working on every Madhouse production. You don’t have the same director working on every Toei Animation production. Many animators are freelancer who have their own style and way of drawing. So if you see a scene which is really badly animated, it could be the result of just one or two animators screwing up. So blaming the whole studio is kinda unfair. The same can be said about great animated scenes.

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Friends

Pairing: Finn x reader, mysterious person x reader

DO NOT PLAGIARIZE MY WORK, PLEASE

Summary: Finn seems to deny that there´s anything between the two of you, so why wait on someone who doesn´t feel the same way you do?

Warnings: swearing

Not my gif

DISCLAIMER: All of the characters in this story are aged up (I´m not planning in any way to write smut with them do not worry) because it made sense to me. If you are not comfortable reading simply don´t read and don´t hate it, please be nice.

Also very sorry for my absence.

Originally posted by wyattswolfs

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Why SouMegu makes sense

 There have discussions within the fanbase of Shoukogeki no Soma as to who Soma should end up with?  Megumi ,or Erina?    So I thought I’d share my thoughts on the topic. Personally, I think Soma should end up with Megumi.  

 in the beginning of the series,  Megumi was one assignment away from being expelled from the academy, and Soma was the one person who was able to get her through how hard they worked together. Then we get to Shinomiya, and this of course is pretty crucial.  We know that that Soma and Megumi become great friends after their initial team up, but this was honestly the first hint.  Megumi was about to fail on her dish because Shinomiya noticed the difference in taste with her dish despite it being good. It needed to follow his guidelines which is where Soma came in to back her up, and at first she tells him it’s okay to just let things be, but that’s not the case. 

 He was willing to put everything on the line just so she keep her spot during the Training camp arc.  Soma was the character that breaks Megumi’s timid ways and finding the courage she needs to stand on her own.   


This is something she even brings out after the Prelims come to an end, and it’s Soma that mentions that she had the strength to do it on her own. Even complimenting that her food is great, and that he likes her cooking.  Which is where we get the obvious hint that Megumi holds some feelings for Soma. 


Thus we come to the scene at the cooking class that Soma and Megumi teach which was sadly skipped in the anime, but it shows how indicative her thoughts are on Soma. 


The statement from her mother does get brought up that was established early on that you must think of someone dear when putting your heart into cooking, and in thinking about her immediate thought went to Soma. This also shows that her feelings towards Soma are of more than that of friends.  

You can almost say that coincides with what Soma’s father said to him in the first chapter, to meet a woman that will make you want to give all the food you make to her.  Megumi does fit the bill on that account. Now could this also apply to Erina? It’s possible I can definitely say that. 


Soma’s case is actually quite similar when it comes to Megumi.  Perfect example would be Chapter 84: 

He spent endless hours in the kitchen preparing a unique dish for the main tournament. The dude never really shows it, but you can tell how much stress it puts on him.  Megumi is the only one  who overs him tea yet also not disturbing him because of how focused he is. Soma can tell  just how thoughtful she can be to him to which ends up being the case. You can see the smile on his face when noticing the note sitting against the wall with the glass. 

It even shows with Chapter 130: 


and again in Chapter 229: 


Also, when you really think about it Megumi has  gone to lengths to help Soma at most crucial moments like he has done for her.  Instead of helping out her dormmates, she decides to help Soma in his contest against Terunori: 


It’s just been shown time and time again that these two support one another, and if you ask me they’re just compatible.   Here’s the other thing I wanna say to the Sorina Shippers, I do see the hints and I can see that possibly becoming a thing especially with the recent chapters. However, SoMegu has been on this steady development trend for a longtime, and it’s going to get brought up again. I have no doubt that, but for the time being let’s just see how everything plays out. 

“Feyre sees the glass as half full. I see it as half empty. That’s why we make a great team. Cassian, on the other hand, just drinks right out of the bottle. Morrigan wonders why it has to be glass. And Amren usually breaks the glass by putting her feet up on the table.”
-Rhysand

Normani: I see the glass as half empty. Dinah sees the glass as half full; that’s why we make a great team.


Normani: Lauren, on the other hand, just drinks right from the bottle. Ally wonders why it has to be a glass and Camila usually breaks the glass by putting her feet up on the table.