but because of the way he was written as a plot device

ao3 klance fic recs

After making my way through most of the klance tag on ao3 I thought I’d share the ones that have stuck the most with me so far. honestly this fandom is a blessing, these authors are a blessing, these dumb space gays are a blessing. so in no particular order, please, have some klance;


Cheeky by rideahorse / a short and sweet oneshot that involves both kissing and incessant bickering, and honestly with this pair, what more could you ask for. rated T.

official summary: Keith pinches his eyes shut, slamming the book down again and swiveling to face Lance. “Oh my god,” he groans, standing up and crossing the two feet between them before Lance can get out a word. He grabs Lance’s face between his hands (perhaps a bit rougher than needed, but hey, he’s always wanted to slap Lance’s stupid face) and the last thing he sees is an expression of pure surprise before he leans down and presses his lips against Lance’s.It’s a peck, and it lasts a second, and then it’s over. Keith leans back, releasing Lance’s face, and hisses, “There.”

if it takes two by velvetcrowbars / Lance has a confession to make and Keith is a knight in shining armor (sorta). a well written oneshot that Lance is absolutely not going to remember in the morning. rated T.

official summary: After the Sendak attack, Keith and Lance deal with unresolved things. Whatever those might be.“Keith?”“What?” He finally says, safely slipping the piece over Lance’s head with minimal knocking against his temple. He sets the discarded parts on the floor next to the bed.“I have a confession.”

never been kissed by kairiolette / I got a pretty good laugh out of this one, Keith and Lance have a Quality Bonding Moment™ at a local alien burger joint and things may or may not get a little out of hand. not that either of them are really complaining. rated G.

official summary: “You give off the obnoxious popular vibe. The mullet, and the rap sheet, and—the fingerless gloves,” Lance replies, and barrels on before Keith can take it the wrong way. “I’m so handsome, my name’s Keith and I’m a pilot.”“That sounds more like a compliment than an insult,” Keith says slowly, a disdainful quirk to his eyebrows that only spurs Lance on. He tilts his head a bit, his bangs shadowing his face, like he’s assessing a particularly impossible physics problem. “And I don’t like that voice you’re using.”

A Fish And A Bird by Methoxyethane / I loved this fic, adored it to be totally honest. the writing is excellent and the plot is funny while also being meaningful. could alternatively be titled “Keith and Lance take miscommunication to a whole new level and then some”. rated T.

official summary: Lance has a boyfriend. Lance does not realize he has a boyfriend. Keith, understandably, does not react well.

head to head, neck and neck, side by side by kushling / lance actually wins a spar with keith and he is so incredibly baffled that he 100% misses the 5000 implications of keith’s super massive gay crush on him. also, avatar references. definitely worth the read. rated T.

official summary: Lance and Keith both like sparring, Avatar, and each other. They have a hard time admitting it. Pidge makes fun of them. Space swords!!!

Stranded by cyborgtoaster / keith and lance end up being both very cold and very gay, in that order. denial is rampant and i definitely snickered once or twice during this one. rated T.

official summary: On a mission gone wrong, Keith and Lance end up stranded on a barren planet during an unexpected ice storm. Left to their own devices, they have to find a way to keep warm for the night. For once, maybe they can get along and only increase their unresolved feels.

moments of silence by attemptsonwords / really well written and great character capturing. lace is super bi and keith is really really frickin gay, together they both start to put the pieces of their relationship together. rated T.

official summary: Quiet moments between two boys who spend most of their time yelling at the other.

Drive! by wolfgun / set in an earth-centric au, keith has obviously never attended a child safety course in his entire life since he thinks jumping into a strangers car and screaming “Drive!” is an acceptable escape plan. it’s like a sleepover au but better. rated T.

official summary: “C'mon, c'mon, c'mon! Don’t you know how to drive? With a car like this, you can’t tell me you just love to mosey on down the road like a goddamn geezer,” he taunted. “What is this? Just a bit of daddy’s money and mommy’s rules?”“I’ll show you geezer, mullet-head!"Au Prompt: You’re getting chased by the police and you just jumped in my car and yelled drive, wtf man (except it’s not cops because Lance’s mom would kill him for bringing home a wanted teen)

I’ve got 99 problems and you’re every single one by kitwitt / lace is so deep in denial it’s almost physically painful to witness, keith is so amazingly gay that’s almost physically painful, too. for an explicitly rated fic a majority of the (currently 4/5) chapters are more fluff then smut. well written and witty, keith is a snarky little shit and it’s great. rated explicit.

official summary: “Obviously I’m not gay.” Lance floundered, voice breaking to a higher pitch.
Shiro tilted his head slightly. “But you have a crush on Keith.”

In which Lance fails to mask his attraction to a certain pilot under the ruse of rivalry, and everyone knows but Keith.

Miscommunication and failures by Lance by mikuridaigo / oh man i got a pretty good laugh out of this. collage-student au where Lance fucks up big time and ends up with a seriously pissed off Keith on his ass. literally. rated M.

(it’s Explicit companion piece Disastrophe (I like it rough) is also absolutely worth the read if you’re looking for that kind of thing.)

official summary: When Hunk called the Sunday before the spring quarter began, asking if he wanted to grab brunch with him, Lance said yes; and when Hunk called again, saying that his friend was joining at the last second, Lance didn’t think anything of it.Until said friend was the best sex he’s ever had.Basically Lance is a screw up and fixing this mess was probably going to kill him.


I could absolutely keep going and going and going (and going) because there are so many great klance fics floating around out there. I definitely encourage you to root around in the tag for yourself if you haven’t already. huge shout out to all the voltron fanfiction writers out there, every single one of you are in my heart. every. single. one. 

thats all for now kids, tune in next time for more Quality Space Gay™ fanfiction recommendations !

5 Signs You Treat Your Reader Like an Idiot

(1) Overusing Adverbs

For Example: “Get out, Michael. I swear to God, get out before I try to kill you. I wasted two years of my life on your pathetic cheating ass. Get out!” Tara yelled angrily.

Adverbs are, more often than not, useless additions to your writing. Looking to the example above, adding “angrily” to the end of the line tells the reader nothing new. The reader knew Tara was angry, because Tara is clearly yelling at Michael. The dialogue alone is enough to portray this, and I’m sure with the full scene, the reader doesn’t need any extra help. Adverbs clutter up your writing and weaken your writing. Trust the reader to catch on without the adverb.

(2) “As if” Phrases

For Example: Mrs. Winters lingered over Bryan, her stern face glaring down at him, as if daring him to speak out again.

You don’t need to explain why characters are doing what they do. “As if” phrases are explanations we don’t need. Your writing needs to be strong enough to portray that Mrs. Winters wants Bryan to shut up.

(3) Exposition in Dialogue  

For Example: “Hello, Bridget, my ex-girlfriend who cheated on me with Brad”.

I wrote a whole post on this last week, because exposition in dialogue is absolutely terrible, but I will say it again. Using dialogue to explain things is usually just lazy writing. Dialogue needs to sound the way that people actually talk. Keep in mind that the characters know more than they say, and rarely need to explain it.

(4) Lazy Research

For Example: The curtains opened and Jared lifted the wand. With a wave, he instructed the winds start playing. The hall filled with the melody of flutes, clarinets and trumpets.

To the untrained eye, Jared is a decent conductor, and is doing a fine job leading the orchestra. To a musician, this scene would come off as weird. The stick a conductor uses is a baton, not a wand. Trumpets are not wind instruments. These details aren’t enough to completely ruin a story, but if you have a character interested, you need to do research. Know what you’re talking about. Using the right words, terms that are only used within the community (for this example, words like staccato or laccato tell musicians how to play a note).  If you have a character who is a musician, learn about music. If you have a character who does ballet, learn what a pliée is, and what an arabesque is. Don’t assume your readers won’t notice if you mess up on small details. The small details matter.

(5) One Dimensional Characters

No matter how minor a character is, it is your job to make them matter. Every character should have some sort of story. It might go untold, but characters need to be people in the universe you created, not plot devices there to guide your main character to what they need to do. This is especially true when writing women. Many female characters are written with the purpose of being a love interest to your main character, and they deserve more than that. 

Analysis: Romance in One Piece

Note: I’ll be posting condensed versions of this analysis in other sites

A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers

“Who lives on ilusions dies from disappointment” – An old Puerto Rican saying

Most of us know One Piece is a very popular manga. Its high quality and popularity depends on several factors, among them we could name memorable and likeable characters along a deep, compelling, fun and action-packed story. The One Piece many know and love wouldn’t exist without the balance between these factors

When talking to at least 3 different One Piece fans, each of them non-shippers who analyzed the manga they all enjoy, I found interesting and pretty sound perspectives of the One Piece story and its nature. All of them value characters, story, development, consistency and logic; something I can totally relate to

But I also found a pattern; these 3 guys shared one single outlook on the very same subject: shipping. Regardless of their expectations, all of them expressed distate for shippers’ general mindset and “odd” viewpoint:

One of them called shippers out for ignoring characterization and very clear and direct statements made in the manga. His attention was centered on a Luffy pairing and how it contradicts his own character. Oda once explained that he writes Luffy as someone pretty straightfoward when it comes to expressing his thoughts and feelings, and this non-shipper said with brutal honesty that for the discussed ship to happen we would need to disregard and/or discard the very core of Luffy’s character. Meaning Oda would need to stop being consistent and faithful to his own story and characters

The next one explained how shippers tend to turn a characters’ relationship into a sappy teen love fantasy that doesn’t match One Piece at all. His analysis also exposed how integrating this kind of underdeveloped “love” into the story would severely damage One Piece originality, ruin the series and needless to say destroy the likable dynamics between several characters as well as their own development. This fantasy, this so-called “love”, is what the vast majority of shippers support and defend. The same kind of “love” most non-shippers, fans and critics dread

The third non-shipper gave me a more detailed explanation: this is even more rough than the other two as he describes that the common shipper mentality of “he/she likes her/him so they should be together” can “only be likened to that of elementary schoolers”. And how shippers take every little meaningless detail and blow it out of proportion with no regard for context, legitimate bonding or the canon story!

But we can’t put all the blame on shippers. Many manga authors seem to have no idea how to write a character-driven series or complex character relationships. In fact, mainstream shonen writers have their fair share of guilt into promoting this common shipping mindset by being notoriously bad at writing romance. Which results in underveloped premises that leave your average fan skeptical, and your average critic disappointed at a poor portrayal of emotional bonding and a severe lack of cohesive narrative in the “romantic love” department

This is the reason why many fans, critics and non-shippers hold the shippers’ perspective in a very low regard. Just like the third non-shipper states: “The blushing, longing stares, corny ass lines etc. That kind of poorly portrayed romance is the kind of thing dreaded by the average fan because it reduces the quality of One Piece to the level of such poorly written series”

So an author needs to build a relationship the same way one person would construct a building: stablishing a strong foundation on companionship, respect, trust, signifcant moments, and emotional bonding. All of this must come before reaching the status of “romantic interest". In relation to this subject, there’s a trope called “First Girl Wins”, a portion of its description truly fits this criteria:

“From a [extradiegetic] point of view, the Law of Conservation of Detail suggests introducing the Love Interest early. An early introduction allows you to get the audience interested in her and rooting for her, gives you space for Character Development, and gives her relationship with her (eventual) partner the most time to develop organically. And with all that said, it’s such a common device that in all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017

Notice this isn’t a cliché, this is a literary device to enhance the story. Pairing up two characters without meaningful moments, emotional build-up and development, is the equivalent to lazy writing. Having such elements firmly stablished for two characters and then deciding to go for a different “route”, pretty much wasting a well-developed relationship for the sake of a “weaker” premise, would be the equivalent to bad writing

Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of course not! Is he, a man who planned the ending years ago and is still sticking to said ending, a bad writer? Being number 1 in Japan and having such a loyal fanbase all around the world prove he’s not!

Do shippers want Oda to be a lazy/bad writer? Facts already answered this question as many (although not all) fans value their own fantasies and delusions over the manga canon and/or the author’s take on the characters and their relationships

Many (but not all) shippers now have a war. Not only against rival ships but mainly against One Piece story and consistent development. Yet as the old saying goes, those who live on delusions will have to eventually face reality and disappointment, because Oda is not a lazy/bad writer like some people here would want him to be

B) Romance Dawn AKA The not so secret origins of One Piece

“If we don’t know where we are going, it can be helpful to know where we come from” – Jostein Gaarder

When debating posible outcomes, fans rarely look back at the time when One Piecewas a still a work in progress. Taking a look at Romance Dawn V.1 and Romance Dawn V.2 helps us to see there are constants present in all versions of these Works that made it into what would later become the most popular manga in Japan

But before discussing those constants I would like to clarify the meaning of the word: “Romance”. There are people who doesn’t really grasp the concept of “Romance” both One Piece and Oda work with. Luckily the first two non-shippers I meantioned shed some light on this subject:

Romance:

“A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful
“A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place”
“A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes

– thefreedictionary.com, 2016

“A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious
–  Merriam Webster, 2016

Romantic:

“Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized
“Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous

–  Merriam Webster, 2016

These definitions match pretty well One Piece and Oda outlook on this concept. Even Oda lampshaped this by giving his own translation to the title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”)

So Oda’s “romance” covers a wide variety of themes: Adventure, heroism, mystery, virtue, idealism… we can find comedy and tragedy, happiness and sadness. And among the virtues and the idealism we find companionship and love. As the second non-shipper I mentioned explained One Piece is pretty much like an “Adventure novel”, which is why we’ll find in One Piece many of the tropes commonly used in those books

Among those tropes, we find a couple of constants in all versions of “Romance Dawn”

The golden-hearted protagonist and the “First Girl” who doubles as a female lead. Think about this “what if” scenario: If things would’ve played different back then and One Piece never went beyond “Romance Dawn V.1”. If that story were to be elaborated futher, which two characters would had shared the most moments to become endgame? The answer is pretty simple: The golden-hearted protagonist and the female lead!

But when debating, the weight of the argument depends on edvidence so we need to rely on what we can confirm. And we confirm this, what’s the constant in Luffy’s story in all versions of Romance Dawn? a Nami-like character

This becomes even more interesting when we discover that at an interview at “Manga no Chikara” and others, Nami was supposed to be the first one to join Luffy but her debut was postponed by Oda’s editor at that time. Edvidence of this being a last minute decision remains on the first color cover:

Yet as the second non-shipper noted: “her role as secondary protagonist was not altered” for “Nami shares with Luffy the largest character development in the entire series”. And as explained here we already know how the trope goes when someone seeks to write a natural growth for an emotional connection between two characters 

In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [….]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami

In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective

C) LuffyxNami AKA LuNa/LuNami

“Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley

Many shippers tend to ignore and disregard the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships

To makes matters worst some of them even deem as illogical any argument solidly based on these factors. While considering stuff like lines, frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as legitimate proofs of a plausible outcome! In fact they even value comparisons to other series with a different tone, themes, and characters over anything that the One Piece author conveys through his work

There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing!

But in order to reach a conclusion that remains true to One Piece and its nature we have to rely on the very same foundation that was already described several times: mutual trust/respect, faith on one another, significant moments, stress in their relationship and emotional development. If the story doesn’t let you build your premises on these elements, the conclusion you’ll reach will obviously be flawed and stray away from what One Piece really is

So here I’m not only defending the premise I strongly support; I’m defending the very same story and build-up that contributes to this bond’s natural growth:

As explained before there’s nothing explicitly romantic about major interactions. But given we’re dealing with a good and dilligent writer, what we’ll get to see is how big to small moments stablish an emotional connection between two characters, and how that becomes the base for a even greater growth

First we have the themes of trust and faith: At first Nami doesn’t trust Luffy very much, out of her clear distate for pirates, until witnessing how far was Luffy willing to go to selflessly help others. Even then Nami treated their relationship as a mere business and later betrayed the crew

Still Luffy always trusted Nami to the point of putting blind faith in her. Even when given reasons not to do so. One remarkable example is when Luffy was informed by someone trustworthy (Johnny) that Nami apparently “killed” to Usopp, and Luffy not only kept holding onto his blind faith in Nami but he also threatened Johnny for saying such things about her


This becomes something remarkable when we take into consideration that Zoro quickly gave up on Nami and later tried to attack her without even a second thought! While Usopp just wanted  the Merry back…

And it would later become even more impressive in the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of wounded man he didn’t even know, and even doubted Robin during Water 7 until Nami told him and the crew the truth behind Robin’s desertion:

But what else makes this situation with Nami any different from others we see in the manga? Some might point to the saga where rescuing Robin was the primary objective; but in Robin’s case Luffy knew her life was in danger for Robin was planning to die for the crew, and he got the resolve to save her only after learning the truth. Others might point to the current arc, but he saw right through Sanji’s act and got desperate to rescue him only after hearing his life is in danger.

Here, Nami’s life wasn’t in danger as far as Luffy knew. And he constantly try to reach out to her despite her harsh attitude and the fact he knew next to nothing about her past and her current circumstances. It was only when he saw her cry he got enough motivation to beat Arlong, and it was only when he got a small glimpse of what she went through that he lost it!

How does Nami respond to this? Initially she wanted to get Luffy out of her villaje and her life. While Nami indeed grew fond of Luffy and the others she wasn’t willing to bond with any of them; she held on her distrust of others. But that changed when she finally hitted her lowest point, when she finally lost all hope. Then it comes Nami’s first major development as character: she realized she needed to rely on someone else, she realized Luffy was her only hope Nami decided to rely on him. The following scene marks the first time of many when Nami relied on Luffy to a emotional level. And the first of two times when Luffy entrusted his treasure to her in a touching gesture to provide comfort and hope:

From the very beginning the emotional build-up between Luffy and Nami was a key factor for one of the most meaningful and memorable moments in One Piece. The moment when Luffy becomes Nami’s “emotional anchor”

The effect Luffy had on her character was also quite powerful as we could see during the 2nd pass of the hat: back then at Skypiea arc Nami could still panic at dreadful situations: 

But as soon as Luffy gave her his treasure, the panic stopped and when he was later removed from the battle field, Nami was capable of drawing enough courage from Luffy to face the big bad from that arc:

Not to mention Luffy’s final move against Enel was combined effort of the two as well as an impressive display of mutual trust/faith

We can continue to appreciate their development even futher as the story goes on. As someone already pointed out, Nami during Water 7 displayed an impressive resolve and determination, but as soon as she got the chance to explain Luffy their situation she opened her heart to express how she felt, her anguish and her distress. When Luffy reassures her that he will save Robin, she doesn’t cry anymore until she reunites with Robin

Their bonding is even futher explored in the only One Piece movie fully written by Oda: Strong World. As this is the author’s take on their relationship is still a valid argument to support Luffy/Nami development:

We already considered how impressive Luffy’s blind faith in Nami can be. So after listening to most of Nami’s recorded message, Luffy gets enraged! Why?

Well, after all that time Luffy relied on his navigator without ever doubting her. He was likely expecting all his trust and faith in Nami to be reciprocated

Turns out Nami does return that feeling! And why can we say that? Remember the movie’s ending: Nami finds out everyone in the crew got her hidden “save me” at the end of her message… everyone but Luffy. Then when Luffy is about to play the recorded proof of Nami’s unwavering faith in him, what does she do? She tries to get rid of the “edvidence” out of embarrassment 

It’s easy to see then why Nami seeked out Luffy for hope and comfort during Zou. And how she did something similar to what happened in Water 7: she opened up to Luffy

I said it before, since Luffy is Nami’s “emotional anchor”, it makes sense for her to keep strengthening her bond with Luffy. And given Luffy needs a guide to new adventures and someone “mature” enough to sometimes keep him in line, it makes sense for Luffy to grow closer to Nami

She once summed it up pretty well: “He always talks big, but when it comes down to it, he knows nothing about the sea! He’s severely lacking in the ‘sense of danger’ area! And he always overdoes it…if I left him alone, he’d die. And he’s stupid, so I have to take care of him. That’s why I’m gonna help him!” - Nami, chapter 596

Still, none of this is explicitly romantic in the traditional sense of the word. But just like someone who’s contructing a building, we start dealing with the foundations to then proceed to make a solid structure: a well-written relationship that enhances the story

As someone once reviewed, Luffy and Nami dynamic doesn’t need to chance for them to become endgame for they already have anything they need to finish that “building”. And that’s what’s being a potent pairing means: having everything to your favor for futher development and growth. Luffy and Nami definitively have the major moments and the emotional bonding while remaining consistent to the One Piece canon to be considered a Potent Pairing

Bonus:

It’s interesting we find other interaction that proves how comfortable is Nami around Luffy: 

She doesn’t mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places But why is this relevant? In Thriller Bark we had a clear showing of how she reacts to pervs trying to accomplish what Luffy did here. She electrocutes them. We can confirm she haven’t changed in this regard because at the end of Fishman Island arc Nami electrocutes a perv for trying to peek at her while she was taking a bath

Another interesting detail about Nami’s attitude toward Luffy is a change we see in WCI. Of course we have the remarkable faith and trust Nami puts on Luffy by even boasting how him being the future Pirate King ensures their victory over Cracker’s ability.

But the real change is when Sanji brutalizes Luffy. Nami already stated she felt guilty for what happened when Sanji got taken. But when Sanji did his “little” number on Luffy her attitude changed, she not only begged him to stop but was also promising they’ll leave if he did (Luffy clearly disagreed on that)

After seeing the way Sanji treated her captain, Nami did something the could seem pretty justified because of what happened: she slapped Sanji and then sarcastically played along Sanji’s “royal” act.

When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:

The Japanese text for Nami’s dialogue reads: “Luffy!! Why?! No matter what his reasons are, after he did all that to you…”

The term she used here for the line in bold conveys the idea of severe mistreatment. She was obviously mad at the way Sanji attacked and badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more emotion to the prospect of getting Sanji back than Nami, she kept displaying far more concern for Luffy as the chapters went on

Nami is now showing, little by little, more of a emotional attachment to Luffy. Which makes a lot sense given what we saw in their story

Okay, so a few people have shown interest in hearing an unpopular fma, so here goes: Hohenheim was not a good father. Now, before anyone immediately disagrees, I’d ask you to please hear me out, because I do have a real argument for this, and it isn’t just a post bashing Hohenheim. (And this analysis will be talking about fmab Hohenheim, because there’d be a whole lot more to say about 03 Hohenheim)

Before I say anything else, I’d like to start by saying that I like Hohenheim as a character. The way he was written was compelling, and he added so much to the plot and development of other characters. He tries his best to be a good person, and at heart, just wants to do what’s best for the people around him. And there’s absolutely no doubt that he loved his wife and two sons more than anything else in the world. And I’ve seen people argue that that fact alone makes him a great parent. However… that doesn’t automatically make him a great father, or even a good one.

Loving your child is not the only requirement of a parent. Being a good parent requires you to be there for your kid, to encourage them, to help shape the kind of person they are. It requires being an active presence in your child’s life. And Hohenheim just didn’t have that. He left his wife and two kids at home when both Ed and Al were toddlers, and went off to travel. I understand why he had to leave, and I’m not saying this wasn’t something important. But the fact of the matter is that he left his home, and he didn’t return, didn’t even spare the time for a simple phone call for over ten years. Ten years. And he didn’t even bother calling his family to check in on them. I probably wouldn’t even be making this post if he decided to give Trisha a phone call every couple of days and talk to the boys.

He found out about his wife’s death ten years after it happened. He had no idea one of his sons became a state alchemist until three years after the fact. He just wasn’t there for so much of his sons’ lives, to the point where Ed doesn’t even recognize him as his dad anymore. Hohenheim didn’t fulfill any of the duties a father is typically supposed to fulfill, and he wasn’t there for his children at a time when they needed him most and were left on their own. Had he been at home with Ed and Al, their human transmutation attempt might not have even happened! They lived by themselves for ten years only loosely supervised by Pinako, then Izumi, then nobody.

When Hohenheim did decide to return to Resembool after ten years, there’s no doubt in my mind that he was ecstatic at the prospect of seeing his family. He obviously loved them immensely, and that love and need to protect them was one of his main reasons for leaving in the first place. But he returned to a burned down home and two broken sons (one if you count the fact that Hohenheim only met up with Al muuuuch later on in the series then Ed). This was a direct result of his bad parenting because had he been there for Ed and Al, had he been active in their lives, there would have been so much less tragedy.

Someone could argue that when Hohenheim came back for the Promised Day, he was there at a time when his sons needed him most… but what about all the other times? What about the night Ed and Al attempted human transmutation? What about Ed’s painful automail recovery? What about the time when Ed decided to become a state alchemist? Being there for one huge moment of your child’s life and helping them then doesn’t redeem you for leaving them to their own devices for over ten years without a word. He played a minimal role in raising his kids in the couple years he did stay at home with them, then left them to grow up on their own without a dad.

Hohenheim was a good person, and he loved his family so much, but like I said earlier, love alone doesn’t make you a good parent. It requires playing an active role in raising your children, and let’s face it: Hohenheim couldn’t do that.

anonymous asked:

Even tho Cassie Clare was problematic at first, she got a whole lot better in her later books- Jem in TID, Cristina in TDA, etc. The Last Hours series is going to be released starting either 2018 or 2019, and it's going to have two biracial (British-Iranian) siblings. One of them will be a focal POV main character. Her name's Cordelia. Unfortunately the fandom thinks she is white because she has red hair. I wonder if they ignored the fact she has brown skin and speaks Farsi?

Cassandra Clare might have characters of color and LGBT+ characters in her books, and she might try to seem “inclusive” and “progressive” with “her” work. I think, however, that she utterly fails at that. Under the cut, a list of all the reasons why her diversity isn’t worth much, and why I don’t think anyone should be giving her any more money, as she will just keep on dissapointing. Call this… 

The Cassandra Clare is inexcusable masterpost: 

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anonymous asked:

If the Arthur series were to get a feature film (eg Powerpuff girls, SpongeBob, Hey Arnold, Rugrats) what do you think the plot, tone etc should be like? In detail please?

Following release from prison, Binky Barnes violates his parole by traveling to Elwood City to meet his partner-in-crime and friend Molly MacDonald to propose a caper. The two go to Crown City to pitch the plan to wealthy friend and former casino owner Muffy Crosswire. The plan consists of simultaneously robbing the Bellagio, The Mirage, and the MGM Grand casinos. Muffy’s familiarity with casino security makes her very reluctant to get involved, but when she starts to think of it as a good way to get back at her rival and father, Ed Crosswire, who owns all three casinos, Muffy agrees to finance the operation. Because the casinos are required by the Gaming Commission to have enough cash on hand to cover all their patrons’ bets, the three predict that, on the upcoming night of a highly anticipated boxing match, the Bellagio vault will contain more than $160,000,000.

Binky and Molly recruit eight former colleagues and criminal specialists: Arthur Read, a young and talented pickpocket; Buster Baxter, a casino worker and con man; George and His Dad Lundgren, a pair of gifted mechanics; Alan “The Brain” Powers, an electronics and surveillance expert; Francine Frensky, an explosives expert; Nigel Ratburn, an elderly con man; and “The Amazing” Sue Ellen, an accomplished acrobat. Several of the team members carry out reconnaissance at the Bellagio to learn as much as possible about the security, the routines and behaviors of the casino staff, and the building itself. Others create a precise replica of the vault with which to practice maneuvering through its formidable security systems. During this planning phase, the team discovers that Binky’s ex-friend, Prunella, is Ed Crosswire’s secretary. Molly urges Binky to give up on the plan, believing Binky incapable of sound judgment while Prunella is involved, but Binky refuses.

When the plan is put in motion, Binky goes to the Bellagio in order to be seen by Ed, who, as expected, has him locked in a storeroom to be beaten by a bouncer called Rattles. Rattles, however, is a friend of Binky’s, and he allows him to leave through a ventilation shaft, to meet with his team in the vault. Arthur poses as a gaming commission agent and reveals to Ed that one of his employees is actually Buster Baxter, an ex-con. Arthur and Buster stage a faux confrontation in Ed’s presence so that Arthur can steal the vault access codes written on a piece of paper in Ed’s jacket. Sue Ellen is smuggled into the vault by the Lundgrens to assist in triggering the explosive from the inside. Nigel sneaks explosives into the casino vault by posing as a wealthy international arms dealer who needs especially secure safekeeping for his valuables and then pretends to have a heart attack that draws the security men’s attention away from the vault monitors, and is subsequently treated by Molly posing as a doctor.

Francine activates a stolen EMP device to temporarily disrupt the casino’s electrical power, allowing Arthur and Binky to drop down the elevator shaft undetected. As Ed attempts to restore order following the power outage, Molly anonymously calls him on a cell phone that Binky had earlier planted in Prunella’s coat. Molly tells him that the vaults are being raided and that all the money will be destroyed if Ed does not cooperate in loading half the money into a van waiting outside. Ed observes video footage of the vault that confirms Molly’s claims and complies in moving the money but orders his men to follow the van after it departs and calls a SWAT team to secure the vault and the other half of the money. The SWAT team’s arrival results in a shootout which causes the incineration of the half of the money left in the vault. After assuring Ed that the casino is secure, the officers depart at Ed’s insistence.

Ed’s men following the van discover it is being driven by remote control, and that, instead of money, it contains duffel bags full of flyers advertising The Sugar Bowl. Ed realizes that the vault video feed he had been watching was pre-recorded, as the vault floor in the footage lacked the Bellagio logo, which had only recently been installed. A flashback reveals that Binky had used the vault replica to create the fake video Ed had seen. The rest of the team posed as SWAT officers and took all of the money in the vault when responding to Ed’s call for police assistance. Ed then returns to the room where he left Binky and finds him still there, apparently still being worked over by Rattles, leaving him with no way to connect Binky to the theft. As Prunella watches via security surveillance, Binky tricks Ed into saying he would give up Prunella in exchange for the money. Binky then says, “All right. I know a guy. We were in the joint together. Anybody pulls a job in the western US, he knows about it. Give me 72 hours. I’ll find out who took your money”. Ed orders his men to escort Binky off the premises and inform the police that he is violating his parole by being in Crown City. Prunella leaves Ed and exits the hotel just in time to see Binky arrested. The rest of the team bask in the victory, silently going their separate ways one-by-one. When Binky is released after serving time for his parole violation, he is met by Molly and Prunella, and they drive off, closely followed by Ed’s bodyguards.

I thought I’d take a moment to talk about one of my favorite minor rogues in the Batman canon.  It’s not Clock King, it’s not Condiment King, it’s not even Killer Moth…

This is A.S. Scarlet, AKA The Bookworm, a character that was introduced in the 1966 Adam West TV series.  The creators came up with the idea for him in honor of National Reading week, so no points for guessing what his shtick is.  But it’s the details that makes me really love him.

First of all, the costume and gadgets.  I love this costume so much—it hits the sweet spot between goofy and kind of awesome.  The brown pleather jacket is meant to echo “rare old book bindings” (because books are bound with leather…?) and while it looks more than a bit uncomfortable (it seriously creaks whenever he moves!), the tailoring on it is great.  Plus it manages to look rather dapper.

The reading lamp on the fedora is pretty neat, but what I really love are the glasses.  When he turns a knob on the side of the left frame, it opens a radio frequency that allows him to communicate with his henchmen. A few years later, the Green Hornet TV show would come up with a similar device, but I love the fact that a one-off Batman villain came up with it first.

Second of all, the henchmen themselves.  Typically the henchmen on the ‘66 show, even moreso than in modern Batman media, were big dumb galoots who had to be led around by their nose to obvious answers by their bosses.  But these guys didn’t really fit that stereotype.  Yeah, they were crappy fighters and got their butts handed to them by Batman easily, but they were miles more intelligent than your average goons. They were articulate, kind of snobby, and always thinking on the same wavelength as their boss.  That, and they were efficient—every scheme they wanted to pull went off without a hitch. Plus they’ve got some awesome codenames (Pressman, Typesetter, and my favorite, Printer’s Devil).

And of course, there was the moll—Lydia Limpet (Francine York).  Most of the time the ‘66 molls were there just to be empty-headed eye-candy, but not this girl.  Not only does she have some genuinely adorable chemistry with Bookworm—

(I ship these two like freaking FedEx.)

–but she is also darn intelligent in her own right. When she’s taken into the Batcave and hypnotized to try to weasel out her boss’s ultimate plan, she immediately twigs to the fact that the Dynamic Duo know more than they should and feeds them false information.  She also tricks Robin into gassing himself into unconsciousness.  All while literally having her hands tied.  She also has quite a bit in common with Bookworm, sharing his love of literature.  And then at the end, while most molls try to weasel their way out by pleading with Batman and claiming they were just innocent girls who tangled with the wrong crowd, Lydia accepts her fate and allows herself to be arrested.  She’s completely unapologetic about the entire scheme, and I love that about her.

And third of all, the character of the Bookworm himself.  He’s played by one of the great character actors, Roddy McDowall—

(whom you might know better as this little scamp)

–who makes Bookworm into much more than a one-note baddie.  He’s intelligent, certainly, with high standards and an eidetic memory; and he’s also very theatrical and cheerfully practically in a Riddler sort of way.  But he’s also freaking scary.  Most of the time, he has a very genteel, calm demeanor with this constant smile of slight “you poor simple fools”-style amusement on his face.  But when things don’t go his way, or when someone even says a wrong thing, he completely flips his gourd.  In the beginning of his two-parter, Lydia asks him why, with his brain and enthusiasm, he hasn’t written his own book.  And he blows up at her, admitting that for all his brilliance he doesn’t actually have any originality, resorting to “stolen plots” from other books, and accuses her of insulting him further.  He then picks up the heaviest book in his lair and attempts to bash her brains in with it…all over an honest mistake.  

Of course, he’s back in perfect control within minutes, but for the rest of the episode you’re on edge every time he so much as snaps at anyone.  And it’s not the only time he flies off the handle like that, either—after Batman and Robin escape one of his deathtraps, he has another brief freakout before getting back to business.  He’s a fascinating character to watch and played by a fantastic actor to boot.

The two-part 1966 episode he’s in is a wild ride from start to finish, including a possible assassination attempt, the first window cameo ever, and some truly outrageous and convoluted deathtraps (appropriate for a rogue who “like any struggling novelist, overcomplicates the plot!”).  One of which involves a giant cookbook.  I am not making that up.  All the expected ‘60s weird is there, but it’s still a lot of fun.

Unfortunately, that was the only appearance he made in Batman media for a long time.  McDowall wanted to come back for another two-parter, but his busy schedule got in the way.  He didn’t show up again until a 1989 Huntress arc that gave him a new grim ‘n’ gritty backstory.

“A victim of child abuse, his mother would lock him in a closet while she worked on puzzles. (Alexander) Wyvern once started a fire in the closet in a desperate attempt to get his mother to release him – only to wind up badly burned and, after he got his mother’s attention, badly beaten. Psychologically damaged, the boy grew into a serial killer.  Though the violent character bore little resemblance to the literature-obsessed felon of the 1960s, this version did still leave Riddler-style clues for the police to hunt him down.  Bookworm ultimately met his demise when he set a deadly trap for the Huntress. Huntress dressed as his mother, frightening him into running away and tripping his own contraption, killing him.”

(From the Batman wiki)

It was lame, and we don’t talk about it anymore.

He made a few cameos in Deathstroke the Terminators and Teen Titans comics in the 90s, as well as a itty bitty nonspeaking appearance in Batman: The Brave and the Bold.

But in 2013 he made a glorious debut to comics in 2013 in the Batman ’66 line, setting new deathtraps and dropping new literary hints. In one of his best appearances, he sets himself up as an adversary to Batgirl, which is just perfect.  Who better to oppose Barbara Gordon, a librarian, than a book-themed supervillain?

(Yes, that is a giant bug demon.  Long story.)

And in 2014 he reappeared in Gotham Academy, this time as the school’s English and theater professor, which is even more perfect.

He’s a good teacher, if strict and a bit overdramatic.  And let’s be honest, what isn’t cool about having an ex-supervillain as a professor?

Also, this scene. This scene is awesome.

Yes, that is Egghead as played by Vincent Price.  Gotham Academy is just the best.

TL;DR, the Bookworm is an awesome, oft-overlooked Batman baddie whom I highly recommend every fan check out.  You won’t regret it!

Here’s a link to an episode of the Batcave Podcast discussing his ’66 two-parter: https://www.youtube.com/watch?v=2P3k0o_-Zvk

(All images courtesy of Google Stock.)

BS Bending in TLOK

Watching The Legend of Korra is so disappointing in a lot of different ways. So if you ignore the plot, you’d expect at least some good action scenes with the effort and consistency from the old show. Ehhhh. The bending in LOK is strikingly idiotic and a degradation of the gem from the old show. Maybe if I weren’t comparing it to The Last Airbender, I wouldn’t mind it. But the fact it is so blatantly off from its predecessor makes for another highlight of Korra that I can’t un-see. From how elements are manipulated to even more complex shit with specific kinds of ~special people bending~, Korra, if I can put this politely, fucks everything up.

Right from the start you can tell that Korra definitely dumbed down the movements of the characters. It’s odd because the martial arts expert from Avatar worked on Korra as well. However, he only worked on 22 episodes of Korra, compare that with his 61 episodes guided in The Last Airbender. It’s probably a mix of Kisu’s lack of involvement, and an overall decision from the writers that maybe it wasn’t as important? Which is sad, because it really disassociates the audience from the complex spirituality and intricacies of the world. Styles benders seem to have spent years mastering are lost, and replaced with a modern, boxing type “PUNCH PUNCH PUNCH!!!” Hollywood action situation. Here’s some pretty (MS PAINT) pictures to do the talking for me.

And a bonus:

If the simplification of normal bending hasn’t gotten to you, there’s still a lot more I have to sift through. There’s so much shit pointing to how bending’s complexity was reduced for coooool moments. I’m even going to make nice little subheaders.

Lavabending 

So, in ATLA we see lavabending is a feat only the Avatars are capable of. Roku does it, Kyoshi does it. Avatar cool kids only. But then in Book Three, Bolin suddenly has the ability to lavabend at the tip of the hat. Which, by the way, is another thing stupidly prevalent throughout this series. Both Korra and Bolin in times of crisis suddenly have the ability to do things they couldn’t do, but really wished they could’ve. Hooow convenient.

So the discrepancy here is how Bolin can lavabend, and so can this random Earthbender guy, wouldn’t that mean all Earthbenders can? Metalbending makes sense, but lava is so hot it’s going to set stuff on fire. Technically, it counts as two elements, and has been confirmed as such by making it an Avatar-only thing in ATLA. But now these two random guys can just do this. Apparently it may even be easier than metalbending, which is also ridiculous. If lavabending is just bending the Earth to “go fast”, that’s a lot easier than metalbending because there’s more mass to bend. Just make it go zoom zoom and blamo everyone’s a lavabender.

Some people like to claim that because Bolin had an Earthbending dad and a Firebender mom, then that means he can control both elements to control lava. Which is dumb because then that would make him a fanfic-esque Dual Bender. And we really don’t need any of those. It’s never explained or justified, and is so different from the original show, it feels…sacrilegious. How dare you dishonor the lore. /s

BALD AIRBENDING MAN

What’s his name?

I don’t really care, because he’s dumb too. I feel like I don’t have to elaborate, though. It should be pretty obvious. ~Harmonic Converge~ (weird af plot device) gave him airbending, and because he studied it before and read a book by an Airbender Lady, he’s a master at it now. His powers are so innate, he worked so little to get to where he is. Hell, he didn’t work at all.

Unless you want me to believe that all his days in prison, he anticipated becoming an airbender and practiced all the moves beforehand. Granted, there are no official moves anymore. I’m sure he’s experienced in reckless punching. That’s all you need to bend, right?

If he can read a book and be great at airbending, why can’t Korra. Why didn’t Aang read THREE books to go defeat Ozai. Aang just should’ve read Earthbending for Dummies. Then he could bend the entire world off its axis. And This Bald Guy can jump off a cliff after quoting some “deep airbending lore” and he can FLY. Not even propelled by anything or even (AGAIN I REITERATE) moving his arms to BEND the currents around him. He’s not flying. He’s floating. And floating characters have always seemed like pretty bad animation, seriously. He looks like a late-stage yuri on ice character. Super out of place, and moving oddly across an undefined plane.

MAKO IN GENERAL

Mako does a couple things I’m not a big fan of. Ok, a lot of things. But in terms of bending, I have a few choice picks.

In Legend of Korra, lightning and its redirection has a lot less of an impact. Being electrocuted no longer hurts anyone unless the writers want us to feel bad for a character being hurt (usually Korra). But half of the time, it’s just there to look really COOL and not really do anything. This is proven by two things. Mako shoots lightning right on Amon at point blank, and Amon isn’t affected. The same is true for Mako. He HOLDS ON to the lightning and ISN’T AFFECTED AT ALL. Let me make another ATLA/LOK comparison.

Zuko: Tries to redirect lightning, gaurding his torso so hopefully it doesn’t hit him. In the end it does and he’s pretty much out of the fight.

Mako: Doesn’t even really care if he’s hit by the lightning at all. He holds on to it for a good few seconds, because it’s not like electrocution hurts or anything. Only after getting a REFRESHING SHOCK for a good bit does he decide to toss it back at the Robo Man.

Maybe this would make sense because Mako is supposed to be a cool, all-powerful Firebender. But then even that theory breaks down, because he can withstand the strongest forms of raw fuckin’ Bending Power from all elements, apparently.

He does another of these dumb moves when he’s being bloodbended by Amon. We see Amon being bloodbended, but he escapes the grip, and the audience assumes it’s because he’s a bloodbender. But then suddenly MAKO CAN DO IT TOO. What a great guy.

Also Amon’s fine from this shock as well. And this kind of encompasses everything I’ve touched on. There’s Amon bending without moving, Mako having unrealistic powers never touched on before, and powers that are nerfed to all hell just to add ~drama~ in replace of actual sense.

TL;DR: LOK’s bending is saturated action filler written in for wish fulfillment, sacrifices old techniques and inner consistency for cool looking moves and scenarios, and shows a disappointing lack of passion or misunderstanding of the source material

Nocturne | 01

Character: Jungkook x OC (feat. BTS)

Type/Genre/words: Angst, Alternate Universe (Hitman!au, Assassin!au), Smut/Mature Scenes | 8,606 words

Prompts: “What would you find when you keep chasing over the ghosts of your past?”

Summary: It took only one night, one event, for the fate of two children to change. And it took another night, and another event, for Jungkook to finally met her.

Warning: mentions of violence, mentions of usage of guns and weapons, smoking and alcohol mentions, language, includes a little bit of girl x girl scene, graphic smut, mentions of cum play

| Prologue | 01 |

| Music Playlist | Characters |


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Xeno - 2

Plot: The best part about being an assistant in a lab was watching all new inventions come to life, although sometimes some of them fail, leaving them away in a storage room, never to be bothered with; free for the taking.

Pairing: Kim Taehyung x Reader | Jeon Jungkook x Reader

Genre: Fluff, Futuristic au!

Notes: So I listened to Death of a Bachelor while writing this and I HONESTLY FEEL LIKE TAE WOULD LIKE the song. Idk, it’s a good song. Anyway, loving the support guys, keep it coming <3 Thank you. 3.1k Words

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Originally posted by bwinkook

[00:30]

It had been two hours since TA3 had woken up, and the first thing you did was give him some water – his lips were dry and pale. You had actually written down every observation you had made of him on a notepad, every minute that passed. So far, all he had done was binged on a few fruits, and drank five glasses of water. They were very human habits – nothing out of the ordinary.

He marched across your apartment, and scanned everything you had – the holographic pictures, the drawers, even your wardrobe. Everything just seemed so interesting to him; if you were honest, you found that very adorable, it was like watching a little kid. 

All you needed to figure out was how the experiment worked, what he exactly did. The only thing you were aware of was that he was a guard or some sort; a sentient. There were multiple possibilities running through your mind of what he could have been assigned to do – probably a bodyguard for a government official of some sort.

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sacchariwrites  asked:

Are you going to tell us now how you changed the story after you saw episode 10? You said you had to go back and re-outline the whole thing. I am interested in knowing how it differs.

i’m sorry if someone has already asked you this but can you share with us the original plan you had for umfb before episode 10? or can you not tell us until after the companion fic?


How Episode 10 Changed Everything (and other fun stories):

So as I’ve said a couple of times before, episode 10 was an absolute game changer for Until My Feet Bleed and My Heart Aches and now that the fic is finally done I’ll try and explain how although this may get a bit long and I wont go into too much detail about Viktor for companion fic reasons.

So the main three things that episode 10 changed in the fic was Viktor’s entire character, Yuuri as an unreliable narrator and the program music.

The most significant by far was Viktor’s character. Because pre episode 10 we really still didn’t know that much about Viktor and we had no idea about the banquet. So before episode 10 I assumed that Yuuri fell in love first and Viktor came to coach Yuuri out of curiosity because he likes surprises and doing something different and eventually and unexpectedly found himself falling in love. In a draft for another fic I was tossing ideas around for it actually centred on Viktor only realising he was in love with Yuuri just before the kiss in episode 7. Viktor was always very mysterious and I’m sure people who were in the fandom pre ep10 will remember all the theories that he was just using Yuuri and all that and while I didn’t believe that, I did assume that Viktor’s character trope was the ‘workaholic slowly learns how to love by being loved’ one.

But then episode 10 comes and completely knocks that out of the water because we find that Viktor is actually this adorable sappy romantic who calls Yuuri sleeping beauty and adores him and fell in love with him when he was wasted and dancing and brought life and love back into Viktor’s world. And that completely changed Viktor in the fic because after an episode from his pov I had a much better handle on his character and realised he absolutely wouldn’t act like he had been planned to act in the fic.

In the original plan he wasn’t ever a bad person or anything but he was actually a rival for Yuuri and he didn’t fall in love until much much later. But with episode 10 we also found out that Chris and Viktor are best buddies and Viktor likes skating with Chris and can’t imagine a season without him which means that in the fic there’s no way that Viktor would feel threatened by Yuuri as a rival because in canon he’s besties with his competitor and he’s way too much of a sweetheart for that. So in the fic it changed from Viktor reciprocating the rivalry to Viktor actually enjoying the challenge and excitement it brought into his life.

As for him falling in love, in chapter 10 the singing thing was always planned but that was originally the first sign that Viktor was starting to feel affection for Yuuri and was just the very beginning of him falling in love. It chapter 10! But after ep10 I realised that Viktor ‘love at first drunken dance’ Nikiforov would definitely not be having a solid two years of a ‘relationship’ and just be starting to fall because that would be seriously ooc and we finally saw just how much he adores Yuuri through his own eyes. And so in the fic I reworked the whole thing to fit with Viktor as a character as I now understood him and that included him falling first, falling hard and falling early.

Episode 10 also showed us just how much of an unreliable narrator Yuuri is, with the banquet and also how different everything seemed from Viktor’s eyes. And so that meant that I started to play with the idea of Yuuri being a seriously unreliable narrator and trying to tell a story where his version is very different to the version the audience see, which is obvious now pretty crucial to umfb&mha.

I also went back and reworked all the program music for the fic once episode 10 came out. Before it was all important and did have significance but after I knew that Viktor was going to fall early I decided to play around with the idea of showing the audience how he was feeling through his music. So I went back and completely changed the program music to tell a proper story (funny story, originally Yuuri was going to be the one skating to Sun and Moon. And then episode 10 happened and I looked at the new outline of the fic like ‘this is such a Viktor song oh my god).

Another thing that episode 10 changed was originally Chris wasn’t involved in the fic at all until we found out about his and Viktor’s friendship and that he’s actually such a bro not just a weird guy who gropes Yuuri and comes on the ice. As well as that, in episode 10 we also found out that Yuuri was actually the unknowing playboy in the Eros story not Viktor, coming into Viktor’s life, stealing his heart and then leaving without a word, which lead me adapting the fic to umfb!Yuuri becoming a perceived playboy by others through certain things that will be explored fully in the companion fic as a reference to that. There were also some smaller changes like the inclusion of the drunken Olympics and Yuuri knowing how to pole dance as a shout out to the episode.

Episode 12 also changed a lot. One of the things was Yurio and his role in the fic and how he feels about Yuuri which will be explored more in the companion fic. Also the original end of the fic was that Yuuri was going to try and fail to do the quad flip which ruins an otherwise perfect skate and potentially loses him the gold but he was willing to sacrifice it to tell Viktor. But in episode 12 we see that Yuuri can do a quad flip with his love for Viktor as motivation so it changed to Yuuri still potentially ruining his skate because he isn’t sure if he can land the jump but doing it anyway and actually succeeding because every time he tried and failed before it was because he was doing it out of bitterness trying to beat Viktor and this time he was doing it out of love.

The fic also changed a lot over the course of writing it just because characters take on a life of their own and my first draft was very rough and done before I’d written anything so I’ll try and do a chapter by chapter run down of the big changes from the rough plan I wrote before starting the fic to the end result.

Chapter 4:

·       Phichit originally wasn’t a big part of the fic but that very quickly changed because it’s Phichit and he’s so damn important to Yuuri and such an amazing character so I added him in early and made his part much bigger

·       There was originally going to be a discussion between Viktor and Yuuri that went badly and they both ended up annoyed and offended which sparked Viktor’s side of the rivalry but there was no way to do that without making them both dicks and ooc and after episode 10 it changed to Viktor trying to be helpful but unreliable narrator Yuuri taking it wrong and cutting the conversation short

Chapter 6:

·       Yuuri was originally going to be watching interviews and stuff of Viktor and thinking how arrogant and self-assured he was but this changed with Viktor’s character change because that’s just not him

·       Viktor was going to make a comment about Yuuri’s quads but this one was actually going to be an insult and again changed when Viktor’s character changed

·       The idea for the dream sequence only came later

Chapter 7:

·       Pole dancing only became a thing after episode 10

·       Viktor was going to only miss the GPS and come back for Worlds but lose because he wasn’t fully recovered but I decided I didn’t want the first time Yuuri won against Viktor to be so unsatisfying

·       The watching Yuuri skate at the rink didn’t originally happen at this point in the fic until after I saw ep 10

Chapter 8:

·       Yuuri never lost motivation originally but I decided at that point it was important in his character to almost give up but then come back with a vengeance

·       The drunken Olympics never originally happened

Chapter 9:

·       Yuuri was originally still going to be very hostile before I realised it was ooc and a dick move after Viktor was being nice to him so it changed to him congratulating Viktor after Viktor won. That then changed the sex scene from the mutual hatefuck it was going to be pre ep10 to Yuuri and the comments thing that sent him spiralling. The not-talking thing was also added as a plot device because Viktor as he became acted very differently to him as he was originally planned to be and it would have been too easy if he had been allowed to talk.

·       Viktor was originally going to take Yuuri out to dinner at the WC purely out of guilt

·       There was originally going to be another sex scene after the WC and dinner where Yuuri was angry at Viktor for ruining his skate but it would be ooc for both of them and got changed early on

Chapter 10:

·       Number swap was supposed to be just for hooking up but changed after ep10

·       Yuuri’s theme was originally going to be something related to hatred but it changed as his character developed and I realised how he was being affected by the events of the fic was different to the plan and that would be doing him a disservice as a character

·       Conversation with Phichit was very short and didn’t involve a lot of the stuff it did in the final chapter

·       Viktor was going to be acting very different in the second sex scene with none of the need or desperation that happened which all came about during his character change

·       Conversation with Chris never happened until the third of four re-writes of ep10 when I realised Viktor’s actions needed some more context for people who were ignoring the music

Chapter 11:

·       Lots of sex was supposed to happen in this chapter before I changed it for plot reasons and also companion fic reasons

·       Sex scene was supposed to be all about Yuuri acting like Eros Yuuri but those two idiots in love were very sappy and sentimental instead and it became a crucial relationship shift point instead

·       All domesticness from that chapter was planned out later in the fic as the details were not being written in the first plan, including the borscht scene

Chapter 12:

·       Meal with the other skaters never happened

·      In the rough draft of the chapter,  the revel about Yuuri’s virginity happened at the same time as the second reveal but I split them because it worked better that way

·       This was when Viktor was supposed to secretly watch Yuuri skating his routine

·       Yurio wasn’t originally involved at all and Yuuri left after getting jealous. The love revelation never happened

Chapter 13:

·       Yurio appeared in this chapter instead although the conversation was very different in the rough plan because everything he talks about in the final version came about after episode 10 changed everything

·       Yuuri was originally going to be much more angry at the scandal and used his anger to win while Viktor still fucked up his skate but this changed early when I realised it was ooc and Yuuri would actually react very differently and that emotional devastation and heartbreak would ruin his skate instead

Chapter 14:

·       None of the conversations with Yuuri’s family were planned in detail in the first rough plan, I just knew he needed to go back to Hasetsu and have some revelations

·       Yuuri was supposed to convince himself that Viktor never loved him and never could and only realised Viktor’s feelings after seeing stammi vicino. This changed because it was very important for Yuuri to go and get some distance and time and then decided to come back and decided to try again with Viktor before he saw stammi vicino. It also changed because with Viktor as he became after ep10 and how he reacted there was no way that Yuuri would convince himself that Viktor never cared for him. He’s a bit emotionally dense sometimes but not an idiot

·       Yuuri was going to fall on the quad flip

So yeah, all this is from the very rough draft before I wrote any of it and the story adapted and changed along the way as I got more into the characters and got a better handle on how they would act until it became what you see today. It definitely became a much better story and I’m very happy with all the changes that I made! Having a plan is great for a framework but letting the characters grow and change naturally during the writing process is much more fun and I think makes for a better story

"redemption” arcs

Honestly, I’m fucking tired. I’m tired of ranting about abusive boyfriends in YA/NA. But I have to keep doing it because nobody seems to fucking listen or understand.

Even in books where they get “redemption arcs”, it’s still fucking abuse. Even if the girl forgives him, it’s still abuse. Even if he “had no choice” (why is this such a common fucking plot device), it’s still abuse. 

Real life rarely gives abusers a “good reason”. In fact, I’d say it never gives them a “good reason”. But in fiction, y’all can point at Rhys and Warner and their ilk and go “he had no choice!” or “he did it for her best!” or “well he’s sorry and she forgave him!”

And even if that were fucking true in the universe of the book, it’s never true in real life, and dumb kids who don’t know better pick up on these messages, and when their partners start treating them like shit, they think “oh he can’t help it, he’s just damaged and he truly loves me on the inside, he’ll change if I forgive him!”

Sometimes the narrative frames the hurt they inflict on the female character as a necessary evil, and makes the female character look like a bitch for not understanding the pain the man goes through when he’s hurting her.

Why is it always on the woman to forgive the man? Why is it her job to find love in her heart and to forgive him, and not his job to not be an asshole in the first place?

Why do we even need characters who need “redemption arcs” to make up for the shit they’ve put their lover through? Why do they have such an easy time doing these things, and seem to show no remorse until it’s time for the redemption arc to reveal its perfect, shining head and we find out that DEEP DOWN INSIDE he was TRULY SUFFERING when he did those things? Why, despite supposedly loving the people they hurt, they never seem to even bother to come up with another plan, another solution, and just do as the EVIL BAD GUYS tell them to do without question? 

Why why why, even when they’re being assholes and hurting the girl, they’re still written and portrayed as hot, sexy, dangerous, alluring?

Because it’s hot, isn’t it? It’s entertaining. Y’all want to see how her love will turn this monster, this poor damaged boy into someone whole and good again. 

Because it’s never about the girl. Her job is to cry when he hurts her but get lost in her eyes as he smirks at her. Her job is to forgive easily and never hold a grudge, never be truly hurt, never truly experience any pain that can’t be undone with an anguished declaration of love. 

He always remains desirable, even when he supposedly isn’t. He’s always hot, he just goes from dangerous hot to protect-this-precious-damaged-smol-bean hot.

Even if his actions are “justified”, even when he gets a redemption arc, even when the author and fandom bends over backwards to explain to us that HE’S ACTUALLY A GOOD PERSON, I PROMISE, I have to ask: Why?

Why do we need this? Why do you feel the need to write a character who is at first so much of a dickhead that you need to write him a redemption arc just to justify or smooth over the shit he’s done before? 

Because that’s what it fucking is. These types of redemption arcs are never about redemption, they’re erasers. They’re meant to smooth over, to excuse, to explain, to forgive what he did. He never has to face the consequences of his actions, because his actions weren’t “his fault”. He never has to actively redeem himself, because he was forced to do those bad things, you see? 

His redemption is never a process, never a struggle. It’s never about him acknowledging that he did something wrong and struggling to make up for it. It just happens, and he feels sad (if even that), and she forgives him, and all the shit he did in the past is forgotten because they’re in love now! It’s ok because she forgave him!

Sometimes the redemption arc is supposed to make him more sympathetic, even. Look at this poor innocent boy! He had to do bad things for plot reasons and now he’s sad about it! He’s so dangerous, but so damaged! Your love, your forgiveness, will fix him!

And fine, let’s say that he’s forced to treat her like absolute garbage, I still have to ask: Why? Why would you construct the plot in such a way? Why do you need him to do these things, these horrible things that you later have to “fix” to make their relationship alright?

I know why. Because it’s the only goddamn way you can make him interesting, isn’t it? It’s the only way you can make him sexy and mysterious.

This seems to be the fucking guide the people who write this shit follow:

Step 1: Construct the plot in such a way that he’s “forced” to do terrible shit to the protag. 

Step 2: Write him as alluring despite the terrible shit he does, because that makes him hot and mysteriour and dangerous.

Step 3: Construct a cheap redemption arc, if even that, to make him seem more sympathetic and tug at the reader’s and the protag’s heartstrings. This is what will excuse or even undo his abuse, provided it’s acknowledged as a mistake he made at all.

Step 4: Make sure the protag forgives him despite all the shit he’s done. 

Step 5: They’re in love forever and she’s not at all scarred or feels any lingering pain or hatred for what he did, because that would make her an evil selfish bitch who just doesn’t understand what he went through!

Can’t you write interesting male love interests without making them into assholes? Can’t you write morally grey, mysterious male love interests without having them beat the shit out of the supposed love of their life? 

If you think that this dynamic is what makes a relationship interesting, then I’m sorry to say but you’re either a terrible writer or you have deeply questonable taste.

Bye. 

So Enzo died.

Seriously, is anyone actually surprised? Of course he died. I knew he would since S8 started. He was just some random-ass, irrelevant character that only got any significance paired up with Bonnie … and in a fucking flashblack episode at that. You think Bonenzo was going to get a happily ever after, written that way? Lol no.

If Enzo comes back in the finale?  It just means Enzo died so Bonnie could be put through completely unnecessary grief for plot. It symbolizes hatred of her character. Bonenzo symbolizes hatred of her character. Everything on this show symbolizes hatred for her character and you are naïve to think otherwise.

You think Bamon’s going to happen now? Lol no. Because Damon belongs to the sacred Elena and Bonnie’s just meant to serve Elena. God forbid you pair her with a male lead or pair her with ANYONE. Canon ships (Bonenzo, Beremy) or potential ships (Bonkai, Bamon), JP fucks them all up because to her Bonnie ain’t good enough for ANYONE.

Bonnie never gets to be happy. JP is a racist, obsessed fangirl that goes out of her way to make sure she has the worst of everything. She was depowered for nearly all of S8 for no goddamn reason and gets it now conveniently when the plot demands it. Because Bonnie has never been a character for Plec. Bonnie is a plot device. A sacrificial lamb. If she dies for DE and reunites with Enzo in the afterlife or gets some fucked unrequited love for Damon and then dies for DE, I wouldn’t be surprised by any of this. I don’t care what bullshit we heard about Bonnie getting a “unpredictable happy ending”, knowing Plec, it’s going to be unsatisfactory.

Bonnie Bennett deserves everything. She deserves the world. She deserves it all and will get nothing because this is Plec’s world. Expect nothing else.

she’s not bad, she’s just written that way

The more I see arguments over whether someone is a ‘bad character’ (as distinct from an antagonist or villain), the more red flags go up that tell me it’s a case of bad writing. 

First, some context. This isn’t the kind of analysis I could comfortably make if we were only a few episodes in (unless the treatment is truly egregious). If VLD was a SF book, we’d be about halfway through the sequel. That’s plenty of room to look across and see patterns.

Putting my writer’s cap on, and the rest behind the cut.

Keep reading

If you try and figure out the rules about creative writing, you’re going to find that established authors and editors often disagree about nuances of the craft. There are, of course, some hard-and-fast rules about punctuation and grammar, but so many rules vary from genre to genre, generation to generation, audience to audience. Sometimes there are rules that boil down, simply, to consistency

So you might even say that you have your own set of writing rules. Each and every author’s rules are slightly unique. That unique set of “rules” is part of what makes up your author’s voice.

So when are the appropriate times to break those rules, your own rules? They happen, don’t they? In my last post, I gave a list of filler words and overused words that you can consider cutting out of your writing to help sharpen it. But everything–even mediocre vocabulary, poor grammar, and repetitive structure–has a place in writing. 

Breaking Your Mold to Write Character Voice

Jordan is an author (hypothetically). She has been writing for years, gotten an English degree, read a zillion books, and written several novel drafts of her own. Over her years of writing, she has finally come into her own voice. When she writes, she no longer feels derivative or inexperienced. It’s freeing and wonderful! 

But there’s one thing that Jordan hasn’t figured out yet…and that’s character voice. Her authorial voice, while wonderful and unique, seeps into the voice of all of her characters. The result is that all of her characters, whether speaking or narrating, sound exactly the same: they sound like her.

Part of what makes a multi-POV novel come to life is variation in character voice. Part of what makes an author’s portfolio stand out is the vast scope of voices their characters use across their works. Part of what sets apart side characters as characters instead of tools for the protagonist or plot devices for the narrative is a unique and compelling voice. 

So how does one accomplish such a thing? 

Well, there are many ways. But today I’m focusing on language and syntax, particularly in the rule-breaking department. 

The first exercise you can do is take a piece of dialogue, preferably just a back and forth between two characters, and write it one way, then switch roles. Have the characters say basically the same thing, but in their own voices. 

Author Voice Conversation

R: Oh. You’re worried about me
E: I am no such thing. Worrying about you sneaking into enemy territory is like…worrying about a fish drowning in the ocean.
R: You sure seem dead set on stopping me from going.
E: We need to come up with a plan. It would be foolish to just waltz into their territory with no idea what we’re doing.
R: You’re really quite cute when you’re worried.
E: You’d like me to be worried, wouldn’t you? Just go. I don’t know what I’m freaking out about, anyway.
R: Me either. Bye.
E: Bye, idiot. Don’t get caught.
R: *sigh* Is that really what you expect of me?

There’s nothing wrong with this conversation at all. But I’m just writing as if I, personally, was speaking. I know what the personality of these characters are, but that isn’t necessarily enough. I’m going to inject a little bit of their own tics, their own backgrounds, into their speech.

Character Voice Conversations

R: Oh. You’re worried about me, aren’t you?
E: Really? Please. I don’t worry about anyone.
R: But you don’t want me to go.
E: I just…think that we need to come up with a plan first.
R: You’re really kinda cute when you’re worried.
E: I’m NOT—Grah! Fine! Go, then. I don’t know why I’m trying to help you, anyway.
R: Neither do I. I sure as hell didn’t ask for it.
E: See ya, then. Try not to get blood on my shirt.
R: Go drown in the tears of your unborn children, Tiger.

And now, roles switched:

E: Heh. You’re…worried.
R: Fuck off. I don’t have energy to waste worrying about you.
E: You want me to stay. Safe.
R: I mean…having a plan would be a good idea, but what in hell do I know? The fuck are you doing?
E: You’ve got some worry on your face.
R: Don’t touch me. Don’t even talk to me. I’m sorry I mentioned anything about a plan.
E: So am I. I’ll bring you skin of an atosh as a trophy.
R: Bye, Tiger. If you’re not back in one day, I’ll assume you died.
E: Don’t wait that long. I’d love to come back and find peace and quiet waiting for me instead of you.

What sort of things influence the diction of your characters? In example 1, R says, “You’re really quite cute when you’re worried,” whereas in example 2, she says “kinda,” instead. In both of the latter examples, R is more prone to using “fuck” and “hell.”

In one of my novels, I have two narrators: K and B. K is well-read, well-spoken and a little snobbish. B isn’t an idiot, but he dropped out of school in (what amounts to) the fifth grade. He’s spent a large portion of his life outside of society and largely lived his life how he wanted. So when they say basically the same thing, K might say,

“I’ve got this covered. Thank you, but, honestly, it isn’t anything to worry about.” 

Where B would say,

“I’ve got this. For real. Thanks.”

In general, as I write their dialogue, B uses more contractions, shorter sentences, and doesn’t use many words beyond the 1000 most commonly used. He makes grammatical mistakes (Saying “me” when he should say “I”) He has more verbal tics, “Um…” “Er–” “Well, it’s just that…” etc. K speaks with much more flowery language and tends to elaborate beyond what is necessary. This means unneeded adverbs, “moment,” “rather/quite/somewhat,” superfluous reflexive pronouns, etc. I have one character who tends to speak in run-on sentences whenever she uses the word “because.” I have one character who compulsively addresses the people he’s speaking to, so much so that other characters make fun of him for it.

These are all things that, in general, I avoid doing. But using them purposefully helps to set character voices apart. 

Narrator Voice

To some extent, narrator voice can use these same tactics. If you’re using multi-pov, especially, these kinds of nuances will help your reader really feel like they’re reading the words of multiple characters, rather than just being told they are. If you’re writing an intimate third-person or first person, these same principles can help bring your narrative voice to life, just like the words written in quotes. 

Think about these two opening lines and how the voice of the narrator gives you two very different impressions about the same event:

The sun was rising. Though the scent of the overnight dew hung heavy over our tent, the sleeping bag hugged us close together. She smelled warm, and even the scent of our intermingled sweat was pleasant in the early morning. I wondered briefly if the residual alcohol was softening reality, but ultimately it didn’t matter. I was in love.

The sun was coming up. The air was heavy, humid in the muggy morning. Our sleeping bag was wrapped tight around us, the moisture from our breaths clinging around our heads. Sticky and warm, she still smelled like sex. It was probably an objectively terrible smell, but the memories made it nice. I blinked, wondering if that last glass of wine was still hanging over me, but I don’t guess it mattered. I fucking loved this girl. 

So think about it! There are tons of factors that could go into how your characters speaks…and thus, what “rules” you break in their dialogue.

  • How educated or well-read is your character?
  • What influence does their culture have on their diction?
  • How wordy do they tend to be?
  • If they use as few words as possible, maybe mostly grunts, what is the motivation behind that?
  • How much attention do they like to bring to themselves?
  • How self-conscious are they about their voice? Their speech patterns? The effect their words have on others?
  • How long does it take them to get to the meat of what they’re saying?
  • How much do they make others laugh?
  • How optimistic or pessimistic are they?
  • How much do they try to avoid talking about themselves or their emotions?
  • At what point do they end a conversation they don’t like?
  • How long does it take them to get angry in a disagreement? 
  • How does anger alter their speech? 
  • How does overwhelming sadness alter their speech?
  • How does immense joy alter their speech?
  • What words do they use with noticeable frequency?
  • Do they speak differently in intimate settings than in public?

Don’t be afraid to use any and every word to give your characters their own voices. As I always say, to anyone in basically any situation: I don’t mind if you break any rule at all…as long as you broke it with deliberated intent. 

Happy revising!

A Massive Spones Rec List

The Spones fandom is made up of some of the most talented people but is tiny and in need of more content. Due to this fact, there are significantly less Spones fics so I searched extra hard to compile a good, lengthy list of fics.. and somehow managed to find way more fics than I did for my Mckirk one?? Why am I such trash, help I need a life.

(Listed alphabetically: ** = favourite)


Addressed to the Damn Doctor by ElloPoppet | 2.5k, T

Spock writes McCoy a letter of confession, despite not quite knowing how to write a love letter. (A super sweet insight into Spock’s mind, especially on his thoughts on the Enterprise’s resident doctor.)

Best Medicine for the Worst Patient by gammadolphin | 8.5k, T

It’s a special kind of hell, becoming obsessed with the laughter of a man who barely even smiles unless he’s high or dying of blood loss. Leonard doesn’t handle it particularly well. (A hilariously frustrating fic in which Bones becomes a little too obsessed with trying to hear Spock laugh just once more.)

Blues March by IntuitivelyFortuitous | 7k, T

Leonard McCoy sees his friends bleed. He loves the blood when it is inside them, flushing their cheeks and warming their skin. When it colors his hands on the operating table, he can think of little but the time he has with them, and a minute is too long to waste. He’s not going to let Spock get away that easily. (Gruesome and sad yet somehow really sweet.)

The Body by therev | 13k, T

McCoy’s consciousness is transferred into an android body after a fatal accident. Spock helps him remember the man he used to be. (Wow a really creative and fascinating fic that could have gone totally wrong if it hadn’t been written by such a talented author.)

Keep reading

I just want to find a post Cap:CW fic where:

Tony never, ever fully forgives Steve….Tony Stark does not give his trust easily and if you break it? You. Are. Out.

Where it doesn’t end up in any kind of ‘I realize now that you were right all along, Steve’  Tony/Steve ship…. No matter how much some people want to color it that way, Tony Stark is no-one’s damsel in distress who is going to cave to pressure. He grew up in the same house as Howard Stark ffs. Tony knows how to stand his ground.

Where Tony doesn’t need LauraBarton/Rhodey/Vision/Pepper/Coulson/Sharon fucking Carter or any other damn person to fight his battles for him.

Where Tony doesn’t roll over and accept Natasha back because ‘she’s scary’…Please, Tony Stark faced down a group of terrorists in a cave with nothing but the clothes on his back, scraps of weapons and his intelligence. One spy will not give him the vapors.

Where Tony has dialogue that would actually come from a grown ass man with a truckload of doctorates instead of sounding like a sophomore in high school…Tony speaks, at the very least, three languages with flawless accents. I’m pretty sure he can manage sentences constructed of words with deeper meaning than ‘dunno/gunna/imma’ in his own language.

Where Tony is damn well allowed to grieve for his parents all over again….He had to rethink the entire situation. He had to watch it happen. I don’t care that Barnes ‘didn’t know what he was doing’. Tony gets to grieve, 

Where that bitch witch is not treated like a child and is called to account. Wanda is at least twenty. She is no ‘kid’. 

Where Steve once, just once, realizes that his actions in CW were a colossal fuck up. “But, but, Bucky…..’ is a bullshit answer to anything.

Where Tony doesn’t immediately fall down into an alcoholic binge/take up residence in his lab and partake in behaviors that in all reality would kill a man/whine like a three year old and let Pepper/Rhodey/whoever control him/spend weeks making new armors or whatevers……Tony is not just the sum of what he makes. He has other interests.

And most of all I want a fic where if the Secret Avengers come back, Tony is written as standing up for himself, putting his foot down and just saying ‘No. This is my home. My bank accounts. My sanity and my health and you do not get to fuck with that.’

Any combination of the above would be fabulous. But, here we are thirteen (ish) months on and believe I have gone through every fic but,,,,,,,,,,,,,,

Maybe, just maybe, if people realized that there is more to Tony Stark than the fannon bullshit which dictates that he is a semi illiterate alcoholic/workaholic whining child that some writers use only as a plot device, the ridiculous amount of hate towards him would die off a little. In turn this fandom would perhaps cease to be so toxic and could revert back to the fun place it used to be.


~west~

Semiotics in Fandom Texts

A brief lesson on media decoding for the Check Please! Fandom

Semiotics is the study of signs/symbols and their use/interpretation. It’s basically how is meaning is created and expressed. Stuart Hall, notably, had a preferred reading theory. 

There’s encoding and decoding in all media. The content creator (an artist, journalist, etc) makes a piece with an intended meaning. They encode a message into their work. It’s the job of the audience to take that piece and decode its meaning.

 Now, it’s not often that straight forward. It’s not just like you have an audio jack straight from the brain of the creator into your mind so you can download their exact intended message. You have things like ethnic, racial, regional and religious backgrounds. You have how old you are, the generation you were raised in, and  the kind of education (formal or otherwise) that you’ve received. Whether you’re nuerotypical or allisitic sometimes comes into play. What privileges, or lack thereof,  and experiences you carry with you heavily impact how you interpret media. And even when a creator comes out and says “this is exactly the lens through which I want you to see this piece,” that can still be ignored or disregarded. 

Hall broke down how an audience decodes meaning into three major categories: 

Dominant reading- you’ve hit the nail on the head. This is exactly how the creator intended you to consume this media. You figured out the message and have accepted it as such. 

Negotiated reading - you’ve taken the message, and there are parts of it that you accept. You’re negotiating your bias with how much you believe that the intended message is indeed the message. Perhaps you see how it could be interpreted differently, but you’ve chosen to accept your interpretation as THE message. 

Oppositional reading - you’ve basically rejected the entire message in favor of something more aligned with your beliefs. This is like when global warning deniers refuse to look at facts and figures because they’ve been conditioned to believe that “the science is still inconclusive”. (just one example, more on this later)

Typically, the way people read media messages is more on a spectrum. So I’ll be using qualifying terms such as “more”, “less”, “closer to” and “further from” in order to describe placement on this spectrum. 

Case Study: In Universe Meta Meta 

Keep reading

okay but skins will just never get better than the first generation. just

• the tony/sid relationship? Like holy shit so interesting sid goes from idolizing tony to literally saying “I can’t think of anything worse than being you” and then he STILL helps tony and is there for him when he really needs him

• TONY STONEM in general. evil manipulator mwhaha just wants to party but also loves his sister more than himself and is a lost puppy without Michelle. Super fashionable and bi as hell. Sass master. i give the writers major props for making him so unlikeable but also very layered and giving him a crazy ass redemption arc. He’s the center of the universe and he knows it.

• TONY AND MICHELLE’S MATCHING OUTFITS H O L Y S H I T

• can we just appreciate the fact that the first word Effy ever speaks to anyone while lucid is “wanker”

• Michelle could so easily fall into the “weak gullible girlfriend” character but she’s not??? She stands up for herself and is crazy about her friends and she literally ONLY SPOKE SPANISH for DAYS in order to study for her exam you go girl

• a sweet, close, beautiful, pure friendship between a straight guy and a gay guy with no jokes or undertones about anyone’s sexuality

• ANWAR IS MUSLIM. HE IS SHOWN PRAYING AND STRUGGLES WITH HIS OWN BELIEFS VS HIS RELIGION’S

• they could have easily made sid the weird nerdy best friend who’s the punchline to all the jokes but they made him the most interesting character on the whole damn show. His relationship with Cassie. His relationship with Tony. His relationship with his dad. His relationship with Michelle. Hell even his relationship with Effy. A+

• ACTUAL QUEEN JAL FAZER. her entire audition scene is honestly worthy of a standing ovation oh my GOD

• ACTUAL ANGEL CASSIE AINSWORTH. She’s flawed and broken and selfless and jealous and dotty and dreamy and vulnerable and strong all at once. Her eating disorder/mental illness is never used as a trope or a plot device, it’s realistic and an important part of her character but it NEVER defines her. The scene where she runs through the city? Gives me chills every. Fucking. Time. Protect her at all costs.

• ACTUAL CINNAMON ROLL CHRIS MILES. he drew a picture of a snail when asked what his future goals were. he gave the school musical a standing ovation after sketch fucked it all up. half of his lines make no damn sense and he’s the typical stock “comic relief character” but NO they gave him so much depth and family background and levity and he MEANT something. and I think we all expected him to go out in a blaze of glory, in fitting Chris fashion, but he didn’t, he went painfully and un-spectacularly in a bed. Because living fast and dying young isn’t romantic, it’s sad and real and it hurts everyone they leave behind. Also shoutout to Joe dempsie for going full frontal 10/10 you are a gift to humanity

• sneaky, mysterious, bad girl Effy taking care of Pandora and letting her take the credit for her art project

• the protective sisterly bond between Michelle and Effy

• THE DISCO SCENE

• the romances are all so well written and they HURT, because this is a tv show and we expect relationships to last but these are teenagers and high school love affairs never really last, and even though they feel so dramatic and intense now you know that Michelle and Tony will never grow up and get married and have babies, it just won’t happen, but you still feel it all the same, just like you would if you were a teenager.

• but HONESTLY. Jal and Chris. Literally the last people you’d ever think to end up together but they worked because they challenged each other, they made each other want to be better. Chris helped Jal stop being so cautious and uptight and Jal showed Chris that he did matter as a person, that he needed to try, that he couldn’t waste his life because it counted for something. When she puts the coin in his hand to give him all her luck and he’s being wheeled away and he holds it up to show her I just SOB it is so beautiful and sad. They took care of each other but they didn’t change for each other, Jal still went to her audition (and SLAYED it) and Chris still was just as carefree as he always had been, they just met each other halfway and it was so glorious

• and don’t even get me started on Sid and Cassie. These two fuckers. I knew it was endgame the moment you hear them bouncing on springs and Cassie’s like “oh OH YES” and you think they’re fucking but NOPE they’re jumping on a trampoline and she’s playing with the drawstrings on his hoodie like fuck they are so cute. “It’s not like anybody cares, so…” “I care.” When she shoots him with a squirt gun after he stands her up and totally calls him on his bullshit, “everything is your choice Sid” I think about that scene a lot. HIS LETTER TO HER. HE FEELS LIKE SINGING WHEN HE SEES HER. LORD HELP ME. and you think he’s missed her and she’s gone to Scotland and he’ll never see her again but AH plot twist Tony gave her the letter and they meet on the same bench she tried to kill herself on like can you say DAMN and then the scene in season two where he finally confronts her and they’re SO MEAN to each other saying how much they hate each other “whatever I’m sick of saying sorry, I love you, you say sorry” and Cassie’s way of telling him she loves him back is by telling him she named her pet slug Sidley i can’t i just can’t and then Sid, nerdy dumb Sid, becomes the fucking romantic hero and chases her to fucking New York City what the fuck I love them IT HURTS

• Sid and Tony holding each other in the middle of the nightclub after sid’s dad dies and you can’t hear anything but the music but you just see Sid bawling and Tony clutching him… Honestly one of the most powerful moments I have ever seen on tv. Honestly give mike bailey an AWARD

• that “wild world” sing-along will go down in history I swear

• CASSIE’S CLOTHES OMG

• we need more female friendships on TV like the one Michelle and Jal share

• the villain for the first few episodes is named “Mad Twatter.” Just let that sink in

• Chris’s funeral scene is honestly so beautiful and special and well done. I cried so hard. It’s teens honoring and mourning their friend in a way that feels right, that means something to them. It’s catharsis for the characters and the viewers. Amazing

• honestly just one of the best programs aimed at teens I’ve ever seen. Deals with death, religion, parent issues, school stress, pregnancy, mental illness, drug use/abuse, sex, love, varying sexualities (TONY IS BI AND YOU CANT TELL ME OTHERWISE), friendship, suicide, classism, employment/careers, college, and a million other topics without ever feeling contrived or preachy. Yeah some of the hi jinks the characters get into is ridiculous and would never happen in real life (that Russia episode wtf) but at the end of the day, you relate. Teens relate. They feel these characters because they see them in the world around them, because they ARE them. We are all Chris, and Jal, and Sid, and Cassie, and Tony, and Michelle, and Maxxie, and Anwar, and Effy.

• (that ending shot with Effy looking right into the camera is legendary)

• literally when people say that gen 2 is the best generation or the iconic generation I just… did we even watch the same show

• skins was never able to beat the first generation. It just couldn’t. How do you beat this. how

There’s a lot that gets me about the love story in FFXV and how it relates to the characters, or rather, what gets me about the characterization and how it relates to the love story, but it’s going to be a long read.

TL;DR the characterization tried to lift tropes from previous Final Fantasies ( particularly VII and X ) but XV’s version just seems like a hollow echo that takes the tropes on the surface without actually figuring out why they worked for the characters and their plot, instead banking on telling us that everything is supposed to work out and be coherent and letting nostalgia pull some weight. It also didn’t help that any use of those tropes was completely shot to pieces by the story being a forced tragedy requiring ( in my opinion, unnecessary ) character deaths to be “touching” ( read: edgy ) and playing that tragedy straight instead of subverting it, exposing the writing as having a juvenile lack of vision.

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