book deconstruction

Room for Two

Summary: When Dean helps his girlfriend Y/N move from her apartment to the bunker they spend the night together. The next morning, a spider leads to a steamy session in the shower. 

Characters: Dean Winchester, Reader

Pairing: Dean Winchester x Reader

Rated M

Warnings: Shower sex, NSFW, dirty talk, language, self doubt??

Word Count: ,2,388

A/N: This is is not beta read, and I’m exhausted forgive me. Thanks to an anon, @seenashwrite and  @emohermione for the ideas for the story! need to get to bed soon but I needed to finish another Dean fic! I hope you enjoy!

Originally posted by lovershub

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anonymous asked:

Do you think Jaime was actually prepared to put the baby in the trebuchet? I get that he was threatening horrific violence so that he wouldn't have to perpetrate actual violence. That's cool. At the same time, he also told the Freys only a fool makes threats he's not prepared to carry out. Suppose Edmure had still refused to surrender the castle: would Jaime have followed through on launching Baby Tully into the ruins of Riverrun?

Thanks for the question anon.

This is long and is going behind a cut, but in brief: I don’t think you even have to think Jaime *might* under some conceivable circumstance trebuchet a baby to realize that this particular threat is empty. No. Jaime is not going to trebuchet *this* baby.

And if I’m honest? I find the question, “Would Jaime have really trebucheted Edmure’s baby?” to be…entirely missing the point of Jaime’s Riverrun gambit. In fact, asking that question indicates that the reader doesn’t realize that the Riverrun segment *is in fact a gambit* at all.

I think a major reason for the confusion many seem to have felt in the wake of the episode is that the show changed it so that from a motivation and process standpoint, it was unrecognizable as the sequence from the books.

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anonymous asked:

why dont more people ship moxie/lemony i dont understand

THANK YOU. EXACTLY. Like, I don’t even understand either. Because these two, mate, these two are some great friends and awesome associates and, well, we all know how Moxie feels about Snicket. So it’s not like it’s completely out of the blue! Just. Let me talk about it.

Anon, you’ve come to the right askbox. So it’s been a while since I’ve read WCTBATH and WDYSHL but sit down and let me tell you a bit about the AMAZING Moxie Mallahan and this kiddo named Lemony Snicket.

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i read a lot about art as well as women’s places in sub-movements and what not so i wanted to compile a little list of notable books i’ve read about the intersection of those things, in case it interests you at all cause it does me. some of these take on an explicitly feminist perspective while others are more objective and “historical”/ devoid of political introspection- both narratives interest me. (if this seems at all crude or without nuance it’s because i’m just a book store clerk and not an academic, lol) :

i’m surely forgetting some- but i hope this was at least a little of interest! 

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July 2, 2017

“BATMAN AND ROBIN”

by Gondek and BirdO

Pittsburgh native Matt Gondek created his first comic book in elementary school. Now living in LA he says he still paints comic book characters—mostly deconstructed pop icons, like Batman for instance?—but now they’re either on buildings or in galleries. A self-taught artist he says his creedo is “Figure it out as you go along.” Canadian artist Jerry Rugg told StarPhoenix that BirdO “is definitely an alter ego” and probably grew out of a high school nickname: J-bird. A student of graphic design he paints “surrealistic, geometric creatures,” not surprisingly birds quite often—like maybe a Robin? With just enough graphic compatibility and stylistic differences Gondek and Birdo’s collaboration in Alta Way, is a great addition to Gabba Gallery’s alley beautification project in Long Beach, California.  @gondekdraws  @jerryrugg  @gabbagallery  

KA Applegate is why I’m so disappointed with current YA Lit.

The Great Animorphs re-read commenced and holy shit these books are dark. I forgot that. This is a 54 book long deconstruction of every single child superhero story to ever exist and my god, Applegate went all the way with it. She takes the story of a war, it’s possible real life consequences, lack of easy answers and ends the series the only way it can end: In Tragedy.

I was disappointed with Harry Potter because they all ended up alive and married with kids and apparently normal. I was disappointed in the Hunger Games because the ending didn’t make a lot of sense to me. I was disappointed in the Heroes of Olympus because of all the build up with little to no-payoff on the main casts’ tragic circumstances.

But Animorphs… Man, Animorphs taught me that war has consequences. And there hasn’t been a YA author yet that can match Applegate’s huge balls when it comes to writing war fiction and all the trauma that comes along with it.

Jake, Rachel, Cassie, Marco, Tobias and Ax. 6 kids that had no idea what they were getting into and paid for it in spades. They didn’t get to come home and have happy endings because life is more complicated than that.

I wanted Animorphs to end happily, but looking back? I’m really glad it didn’t.

To be grounded far from one’s language, to emancipate it or lose one’s hold on it, to let it make its away alone and unarmed. To leave speech. To be a poet is to know how to leave speech. To let it speak alone, which it can do only in its written form. To leave writing is to be there only in order to provide its passageway, to be the diaphanous element of its going forth: everything and nothing. For the work, the writer is at once everything and nothing.
—  Jacques Derrida, “Edmund Jabès and the Question of the Book,” Writing and Difference
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The Scone of Stone, from The Fifth Elephant by Terry Pratchett!

Yes, I am making a thing that is always described as an inedible consequence of dwarf tradition. Always:

Vimes stared at the misshapen thing on its dusty display stand. It was vaguely scone-like, but only if someone pointed this out to you beforehand. Otherwise, the term ’ a lump of rock’ was pretty accurate. It was about the size, and shape, of a well sat-on cushion. There were a few fossilized currants visible.

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pathless-wood replied to your post:

Oh my gosh I’ve not met anyone who’s watched the 10th Kingdom since my sister introduced me to it nine years ago! That’s great.

Dude, 10th Kingdom was doing Once Upon a Time almost fifteen years ago with infinitely better character development and world-building. It was the shit.

In April, the new Boom comic series Translucid will reunite the creative husband-and-wife team of Chondra Echert and musician Claudio Sanchez, frontman of Coheed and Cambria.

The new project is a unique take on superheroes — portraying a hero named The Navigator and his arch-enemy, The Horse, while also examining the blurred line between hero and villain.

The writers admit they were influenced by the relationship of Batman and the Joker when they were formulating the story of The Navigator and The Horse. But in this story, The Horse begins to notice that The Navigator’s moral compass is slipping, the villain decides to get a closer look into The Navigator’s past to find out what drove him to become a hero.

Sanchez, who’s sold millions of records worldwide as the creative force behind the band Coheed and Cambria, is a lifelong fan of comic books and superheroes. With Translucid, he and his wife promise to turn the superhero trope of “the neverending battle” on its head.

Echert and Sanchez formerly worked together on two other Boom Studios books, Kill Audio and Key of Z. The musician is also behind the volumes of comics and novels known as Armory Wars, which has been tied closely to stories told through the music of Coheed and Cambria.

As we reveal character designs for Translucid by the series artist, newcomer Daniel Blayliss, and one of the book’s covers, by Jeff Stokely, we talked to Sanchez and Echert to find out more about their approach to the book.

Newsarama: Claudio and Chondra, how would you describe the premise of Translucid?

Chondra EchertTranslucid is our first foray into the superhero realm, and it catches up with a superhero and a villain on the last day of the hero’s life. So we delve into his past and see moments that made him become what he is.

The overall theme of it is the question of morality. What makes a hero and what makes a villain?

Where do the lines blur?

Nrama: Looking at the description and art, it seems like the antagonistic relationship of these two characters is much like existing superheroes and their arch nemeses. Was there a hero and villain you guys had in mind when you were working on this?

Echert: Claudio’s a big fan of the relationship between Batman and the Joker, and we were thinking about what makes Batman who he is, and how he went through a traumatic experience in an otherwise good life, and how it moved him forward to become a hero.

We thought, what would have happened if Batman’s past was not good? What if his parents weren’t necessarily nice people? What if he came from a troubled home and still underwent these traumatic experiences? How would he then evolve as a hero?

So you can see similarities, certainly in the hero, The Navigator. And also his villain, who’s called The Horse. You can see similarities between Batman and the Joker.

Claudio Sanchez: And also, what if the Joker had the opportunity to utilize the Batman’s origin to sort of deconstruct him and essentially destroy him? What if this symbiotic relationship wasn’t so symbiotic? What if one of them wanted it to end, and thinks a good way to end it is to utilize the beginning?

Nrama: It sounds pretty dark, but also full of psychological intrigue.

Sanchez: Yes, it is a dark book, and it’s also perplexing and filled with mysteries, because it happens in different timelines. We have this present where these two are combatting. And then there’s this subconscious sort of zone, where we revisit the hero and his origin.

But yeah, it is essentially a dark story.

Nrama: As you said, the story really blurs the line between hero and villain, questioning the choices made by each, and it feels like it’s among the lines of books that deconstruct the superhero trope, in the way of something like The Watchmen.

Sanchez: Absolutely. I mean, The Watchmen is one of my all-time favorites. I guess in a way, you could consider it an homage.

Echert: Even recently, we’ve been enjoying the new Matt Fraction run on Hawkeye, which I think does a good job of taking a hero out of his element and giving you those backstories and unexpected viewpoints of his life.

And even though Translucid is a superhero book, it’s not all capes and flair. This is a book that is really a story about choices.

Nrama: And about how these two individuals took different paths, right? About what controls their moral compass?

Sanchez: It’s funny that you say “moral compass,” because that was one of the ideas for a possible title. But yes, it’s very much about choice.

Nrama: Since you two are a married couple, how do you work together?

Sanchez: Usually, what happens is I’ll wake her up at 3 o'clock in the morning and say, “I’ve got this idea!” And she’ll tell me to basically shut the f__k up and go to sleep.

No, for the most part, we come up with these concepts and jot them down, and with this one in particular, Chondra has been doing a lot of the heavy lifting. But we come together at a point and we just make it work for both of it.

And at Boom, the editors have been fantastic, helping us strike the cord that we want.

Echert: There’s a lot of pre-planning. We take a lot of long walks to make sure we’ve got this overarching storyline, and the vibe that we want. In terms of scripting, I’ll usually sit down and put together a rough draft, then he’ll take a look and make changes. From there it’s really organic.

Sanchez: And we usually have multiple stories we’re working on at a time, so we trade back and forth. Like, right now, Chondra’s kind of taking the lead on Translucid, but I’m working on a follow-up to the The Amory Wars. So I’ve been knee-deep in that, as well as working on a children’s story.

Nrama: Can you describe what Daniel Blayliss brings to the book?

Echert: With this series in particular, we wanted to find someone with an illustrative quality. Boom had come to us with a number of really talented artists, and we ended up with Daniel because his art is just so fresh, but also very, very illustrative and, I think, approachable.

It’s not traditional to what I would envision a superhero book looking like. But it’s very clean and really inventive. He just has a really good grasp on how a page should feel.

I think the only thing we researched regarding his art was his Batman and Joker, for an homage story he did. And it’s really graphic and really dark, and it definitely set the tone for this book. So we thought he’d be a really good fit for this.

Sanchez: I think he also expressed a real interest in the characters, and when we saw that art he did, it made sense. It all clicked. We knew he’d understand the sort of story we’re trying to tell.

Echert: He’s been a pleasure so far. Really detailed. Really fast.

Nrama: I know you have a lot of different artistic outlets available. What is it that keeps you coming back to comic books? Is it mostly because you’re comic readers and thus fans? Or does it offer a certain type of creative outlet for you?

Sanchez: Well, you know, for me as a kid, when I was listening to music, I always found music more enjoyable with a visual. And that was usually with my imagination. I would be in a car with my parents, and they’d be listening to a song, and in my mind, I’d envision a character running across buildings or flying or something like that. My imagination was throwing around images to a soundtrack.

And so ever since, I’ve always wanted to tell stories with music. Coheed and Cambria, with the outlet of The Amory Wars, has allowed me to do that.

But also, I really like the medium. I like playing around with the medium without music too. I like playing around with it on its own. And we’ve done that, with Kill Audio and Key of Z, and I just find it fun. There’s something about having these scripts and sending them to an artist, and this language between that script and that artist, and then seeing that translated back in a visual. That’s just a lot of fun. It never gets old to me. And I’m even utilizing that same sort of thing in the children’s books I’m doing. It hasn’t gotten old. It’s always exciting.

Echert: For me, I didn’t grow up reading comics, aside from an Archie digest from the grocery store every once in awhile. So for me, what I really love about the medium is what a challenge it is. I think the way all these creative minds come together to work on one piece of work is so much more difficult and interesting than some people give it credit for.

It feels like it’s always this really interesting ride with every book. Every time, you’re part of a conglomerate of really creative people. And you end up with this really magical product.

Dean + manliness and embarrassment

“They carried the soldier’s greatest fear, which was the fear of blushing. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place, nothing positive, no dreams of glory or honor, just to avoid the blush of dishonor. They died so as to not die of embarrassment […] It was not courage, exactly; the object was not valor. Rather they were too frightened to be cowards.” ~ “The Things They Carried,” The Things They Carried, by Tim O’Brien.

So the above is a quote from the first short story in Tim O’Brien’s The Things They Carried, which shares the name of the book and is, of course, the title of spn 10.15.

The story uses some frankly awesome wordplay of ‘carry’ to explore the mental and emotional state of soldiers during the Vietnam war (starting out describing the literal physical things they carry, like guns and backpacks, and moving on to personal items like photographs or letters, then memories of family and lovers, then ideas/stories of lovers and so on - there’s even a line about how they ‘carry on’ at one point, which I enjoyed for the Kansas connection :p).

Though it’s about Vietnam, it seems to me like its descriptions are apt for most soldiers in general, and since Dean is a soldier of sorts I couldn’t help reading with an eye to how the descriptions might fit him.

There were PLENTY of things in the story, and the whole book, that are relevant to Dean imo. But I’ve picked out this ONE thing, because I found it the most interesting. Which is this idea of soldiers being afraid of ‘blushing,’ of being embarrassed about being viewed as dishonourable or cowardly or weak. 

It comes up again in a later story, where Tim, the narrator (and author - I assume the book is at least somewhat autobiographical), describes his reaction to being drafted and how he almost travelled to Canada to escape being sent to war. But ultimately Tim accepted the draft because the thought of others thinking badly or him or thinking him weak was too much to bear. He imagines them, his father included, calling him Traitor! Turncoat! and Pussy! and as he describes it - 

“I felt myself blush. I couldn’t tolerate it. I couldn’t endure the mockery, or the disgrace, or the patriotic ridicule. Even in my imagination, the shore [of Canada] just twenty yards away, I couldn’t make myself be brave. It had nothing to do with morality. Embarrassment, that’s all it was […] I was a coward. I went to war.” ~ “On The Rainy River,” The Things They Carried

I feel like this fear is Dean’s as well.

Like this relates to his hyper-masculine image that has been discussed a great deal throughout the show and esp. since Carver’s run. ‘Discussed a great deal’ being an understatement :p 

But to give a quick summary - Dean too is a soldier concerned with keeping up an appearance. Not necessarily of being honourable, like the soldier’s O’Brien describes, but of appearing strong, manly, macho (all of which seem to have become synonymous to Dean). And to be/appear otherwise is often shown as embarrassing for Dean, he’s continually shown as embarrassed when ‘caught out’ liking anything in the vicinity of being feminine/unmanly eg. liking Dr Sexy or shown to be hiding his like of such things eg. wearing pink panties.

IMO he also considers his time spent as a demon with Crowley to have been in large part feminine/unmanly/weak, hence his terming of that as ‘embarrassing’ (which is what first made me take notice of the comments about soldiers and embarrassment in the book).

Do I have a point - beyond hey this is a cool similarity between Dean and the soldiers in the book?  

Good question :p

I guess… what I like about the connection between Dean and the book’s analysis of soldiers’ psyches is that since the episode title points us to the book and its themes it implies, or perhaps confirms, that this idea of soldiers putting on a macho facade, and thus of Dean doing the same, is a theme the show is very much exploring this season.  

And since the book is all about deconstructing that facade, in fact SUBVERTING it by suggesting that in putting on a facade in order to appear brave and strong the soldiers were in fact being the very things they were embarrassed to be considered as (ie. cowardly and weak), it implies that Dean’s facade too is being deconstructed this season :) 

Something supported by little things like Dean enjoying the fancy coffee in the small cup that he insists ‘real men’ don’t drink, Dean enjoying Taylor Swift and, of course, the ongoing saga of the cake - little shows of Dean’s feminine/unmanly (or at least non-hyper-masculine) side showing through his macho-soldier image.

Is Dean’s desire to stop looking for a cure for the Mark, to hold out against it as long as he can and then ‘go down swinging,’ perhaps comparable to O’Brien’s soldiers going to war? Dean too embarrassed to try the alternative, fearing he will seem too emotional/feminine/weak if he continues to make his own life and well-being and safety his priority by continuing to find a way out of being Marked, just like Tim felt about trying to find a way out of being drafted.

And if so, if the embracing of macho facades and the path that leads to is to be deconstructed/criticised in spn as it is in O’Brien’s novel, then could it be that part of that deconstruction will mean that Dean embracing the parts of himself he’s been embarrassed/ashamed of (Taylor Swift, the cake, the coffee, his emotions, his feelings for Cas…) will end up being key to him ultimately overcoming and/or controlling the Mark?

I like to think so :)