Right up there with the likes of Firefly, Still Star-Crossed has already fallen into the cult TV show category. Fans desperately want more but for a variety of reasons (we know why), we won’t get another season. Or at least we’re gonna have to REALLY fight for it.
To the fanfic writers, artists and video makers, the fandom needs you right now. For those who are no strangers to getting the attention of TPTB, do your worst. Sign the petition. Light up the necessary Twitter pages. Let’s make some NOISE. Whatever you can do (remember fans have revived shows before), try.
I haven’t really been inspired to do any fan art or fanfiction since Bamon (TVD) but man have I been excited over Rosvolio. Those two…my depression takes a break when I’m watching them. We all have our reasons for falling in love with what we’ve seen so far, let’s put our passion to good use. I really don’t want to give up without a fight.
“And what do you do? You treat her like trash, when really
we should have been praising her. Whatever those two demons hold over her had
to have been something really bad, otherwise she never would have agreed to
whatever terms they were offering. And what did you do? You were scornful and
hate filed about it. We have no idea what those monsters put her through, and
what did you do? You made her feel so miserable that she would do something
People shocked by reports out of Carrie Fisher’s autopsy are shocked for the wrong reason. Carrie had always been open about her lifelong (meaning, continuous, not over) struggles with addiction and mental illness and where the two sometimes meet. She was never coy or secretive about this.
Did these drugs play a minor role in her death? Sure. People who do not do drugs tend to live longer than those who do. That’s a given. However Carrie did not O.D. The drugs in her system, could have been days old, she could’ve been sober on that flight. You don’t know but we do know her cause of death was not attributed to drugs.
What should be catching more attention is that Sleep Apnea played the biggest role in her death. A condition many people downplay, resigning it to “lol snoring.” Sleep disorders are serious. Carrie Fisher’s made her stop breathing and she died. Carrie Fisher’s gradually broke down her heart.
If you frequently have excessive daytime sleepiness despite a full night of sleep, snore, or commonly wake up gasping in the middle of the night or feeling out of breath: see a physician and get a referral for a Sleep Study. It just might save your life – or at least prolong it. Take care of yourselves.
It’s finally finished! I wanted to make this comic for the snap election, but if the Tories win I feel like it’s gonna be relevant for the next few years.
I messaged a few of the spoonie blogs I follow to see if they would be okay with me tagging them in this. I got responses from @spooniediaries and @heyatleastitsnotcancer but I didn’t want to tag anyone else who hadn’t given me their consent.
Caption/script under the cut - please reblog and share. (Note: the captioning is reaaaaally long - it might crash your phone if you’re on mobile).
As promised, here are some of the theme suggestions for the Reaper76 Summer Event!
We don’t want to do set “day themes” like many of these event weeks do, but we do want to provide everyone with some ideas or inspiration. You’re not limited to these, but some of them might help you get started or get the gears turning.
A day at the beach: it’s hard to think of summer without a trip to the beach! Gabriel’s home city of Los Angeles has several great beaches that might give you some inspiration!
Some ideas: Which one immediately jumps in the water? Do either of them like building sand castles? How does Jack react when seeing the ocean for the first time?
Setting up camp: many people like to go camping in the summer, not just for being outdoors but also to enjoy other activities like hiking, swimming, off-road driving and biking.
Some ideas: making smores, building campfires, watching sunrises and sunsets, stargazing
Hit the road, Jack: road trips are a quintessential summer pastime. Popular routes include Route 66 and California Highway 1.
Some ideas: how do they split driving time, and who is the bad driver? Who gives bad directions? How do they split music choices? Motel rooms? What sights do they go see?
Some ideas: when do they take their big Americas road trip? Who plans the route through Central America, who plans for Southern America? Where do they visit? What do they do in Mexico City? Or Rio de Janiero? Or Buenos Aires? Or Santiago? Do they visit the Amazon in Brazil, the Andes in Chile and Argentina, the cenotes of Mexico and Belize? Trips across the United States are fun, but consider looking at the wonderful world beyond it - as an opportunity to explore and learn about new places and cultures.
We’re all golfers now: lots of sports take place in summer, including baseball, golf, swimming, surfing, and bike races
Soccer/fútbol: outside of the US, fútbol matches are popular in the summer. Would Gabriel and Jack root for a specific team?
Lúcioball: which one wants to learn how to play Lúcioball? Does the other come along and try to play?
Just Desserts: lots of great food come into season in the summer - things like watermelons, strawberries, peaches, nectarines, and especially corn (lol). Ice cream and pies are fun treats in the summer. Barbecued foods, hamburgers, ribs, steaks, and grilled chicken are all popular.
Some ideas: Favorite ice cream flavor? Favorite fruit? Who makes the better burger?
Welcome to Hollywood: it’s time for summer movie blockbusters! What kind of movies would they want to see? Who gets scared in the horror film? Who wants to see the action flick?
Some ideas: What sights does Gabriel show Jack the first time he visits LA? What are some of their favorite movies? Do they visit movie sets?
Retirement doesn’t suit us: summer often means trips to new destinations. Where do two supersoldiers go in their time off? The world is wide with many cool places to visit and see!
Some ideas: How do they react to seeing Dorado for the first time? Or Hanamura? Which one is the space nerd who wants to visit the Lijiang Tower? Which one is the history nerd who wants to see Ilios or Giza?
Some ideas: Does Gabriel suggest going to Mexico to visit family? What places does he show Jack? What foods do they eat, what music do they experience?
Some ideas: who wants to take a trip to China? Who wants to visit India? Do they run into junkers in Australia? What do they think when they visit Numbani in Nigeria for the first time? How do they react to visiting Gibraltar?
Like the stars: did you know fireflies are not found in the western United States? How does Gabriel react to seeing fireflies in Indiana for the first time?
Now those are some fireworks: the 4th of July is Independence Day for the United States. Celebrated with barbecues, baseball games, neighborhood and family get-togethers, and fireworks large and small.
Summertime Romance: sometimes a love lasts a summer, sometimes it lasts a lifetime (or two). How do Gabriel and Jack spend over twenty summers together? Do they do anything special for just the two of them?
Hope these themes help spark your imaginations! We’re super excited that so many people are interested in participating! Please feel free to send us any questions or ideas, and best of luck to everyone creating some R76 content for the event!
Remember, the event begins July 4th and ends July 18th! You can start submitting art, fics, graphics, and content to the tag #reaper76summerevent, or send us a link on the blog!
so lots of people have been asking me my thoughts on laci green’s “red pill” stuff recently. some, in an accusatory way (”why aren’t you a good feminist like laci green?”) and some in a confused way (”help im not sure how to process this”).
i’ve largely avoided commenting on it publicly for personal reasons. i dont like talking about individuals instead of ideas anyway, but there was just some stuff going on for me irl that made me not want to comment on this specifically.
but, at this point, i think laci is doing enough harm that it’s worth publicly saying that i really don’t like what she’s doing or how she’s doing it. i could go into a whole like in-depth thing examining every single point in her two “red pill” videos and analyzing her tweets because there’s a lot to unpack, but honestly that’s not worth my time because it won’t convince anyone of anything. people who want to support her are going to support her, and vice versa for those who don’t. i’ve had my arguments about it already and it’s tired and boring.
as an overarching critique, though, all i will say is that she doesn’t need to 1) throw other feminists under the bus or 2) befriend people who engage in online harassment.
you might not think she’s throwing anyone under the bus, and you might not think the people she’s befriending engage in online harassment – but again, i’m not trying to convince anyone of that. that’s just how i see it.
myself and other feminist creators have gotten a lot of backlash for not being ~open to a dialogue~ like laci, and i don’t think she has done anything to defend us. i think she’s tweeted a couple times that “not every feminist has to debate like me” but then the rest of her rhetoric is full of “i hate how so many feminists refuse to engage in dialogue but don’t worry everyone i’m a good feminist”. and not only does that throw us under the bus but it makes the wildly inaccurate assumption that none of us have ever engaged with any competing ideas which is a beloved anti-feminist talking point but patently false. many of us engage with these ideas, just not in the form of livestreamed debates. we’ve had our arguments, we’ve spent hours arguing over the same points, we’ve wasted our time trying to convince people of things they refuse to accept.
it’s just that she seems more interested in pandering to anti-feminists, complimenting them, and making them feel good than she does protecting the people who are at the receiving end of anti-feminist harassment campaigns.
and when people have said extremely horrible horrible things about me and my friends and tried to make our lives hell for months (or years), it hurts to see a large feminist youtuber like laci defending them and leaving me and other feminist youtubers out to dry.
i personally do not think engaging with anti-feminist ideas is a bad thing. contrary to popular belief, i talk to people with opposing viewpoints all the time (but riley you block people on twitter! yeah, conversations happen off twitter, fucking shocking i know right). but at some point, i’m just repeating myself. the arguments have been had. the points have been made. and i don’t have the money, the time, or the energy to devote 8 hours a day to arguing with anti-feminists. if someone else wants to do that, i think there’s a way to go about it that does not involve befriending anti-feminists or elevating small anti-feminists channels to a larger platform. engaging with the ~other side~ is not inherently bad – discussion and dialogue can be useful – but you have to be careful of the way in which you do it. one aspect of that is the difference between discussing privately and debating publicly. public debates are a spectacle, a show. they’re not conducive to learning or growing or conceding points. they’re conducive to proving you’re right and they’re wrong at all costs and being able to say you “owned” them the next day.
i think laci is approaching this in entirely the wrong way, and it seems to me that she has either fallen for a lot of bullshit anti-feminist talking points or is pretending to in an effort to get closer to them. either way, i think it’s kinda messed up.
anyway, that’s all imma say on the topic. the more we all talk about laci and hype up the little drama she has created, the more she profits from it and is incentivized to continue doing it. im done caring about this show she’s putting on, and i’ll continue doing the intersectional work she has abandoned.
hey there! thanks for answering all our questions on this blog + how possible would it for someone to crack ribs with a solid kick? there's a character i have in mind that's escaping captivity, but they're also young, so i'm not quite sure how easily they'd be able to hurt the (adult) antagonist in such a manner, especially lacking any fighting experience to begin with?
Well, you can break someone’s ribs with a kick. That’s the entire purpose of the roundhouse, especially the version where you strike with the ball of the foot rather than the top of the foot. (And… aren’t like me when I was seven or eight, when I was new to sparring and totally stubbed my toe in another kid’s side at a tournament after my brain/body got confused between the two. I didn’t break my toe, but I could’ve.)
That story above is important, by the way. If you’ve got a character who doesn’t know how to fight then they’re not even going to get that far. If you don’t know how to kick then that’s a great way to get your leg caught by someone who knows what they’re doing. They catch the foot by the ankle, and then drag you wherever they want. That’s assuming the character can get their leg up and out without falling over. Even if they do manage that, say because they’ve watched a lot of martial arts flicks, they won’t know how to generate power and will be very slow. A, B, and C occur anyway. Your protagonist is going to end up back wherever they were being kept, this time in a much less comfortable position.
Even for an experienced martial artist, kicks require fairly constant bodily upkeep in order to be able to do them cold (much less perform them at all). That’s not a combat scenario, that’s just in general. You’ve got a great chance of pulling all the leg muscles you need to get away, including ones you didn’t realize you had and that’s if you don’t break your toes. Board breaks with the roundhouse kick are the most terrifying of them all because you’ve got to remember to curl your toes just right in order to carry your foot through the board.
Kicks are off the table.
More importantly, this is an exact rendition of the “Feel Good Violence” trope: My Instincts Performed A Wheel Kick.
The protagonist is suddenly and randomly enough good at fighting to not only fight, but win when making their first attempt at a violent altercation. They use techniques which require a fairly high level of dedication and aptitude out of “natural ability” and “instinct”.
Unless you’ve got an ironclad reason for invoking the trope (past lives/ immortality/memory loss/the matrix) it will undercut your narrative credibility in ways the story cannot recover from.
When you’ve cracked your foundation, you’re done.
“The only difference between reality and fiction is that fiction needs to be credible,” - Mark Twain
Narrative integrity is based on the rules or limitations we’ve set for ourselves, those limitations are the ironclad rules by which the narrative functions. They exist on two levels: in behavior and actions of characters within the world, and on a secondary level the setting’s behavior around them. Everything in your story must be working to uphold the fiction. When it doesn’t the audience’s “suspension of disbelief” starts to crack. You are beholden to the rules and limitations set down by your setting. Without them, you have no story.
When you’re setting out to create a character, there are four questions you should ask yourself:
1) What can the character do?
2) What can’t the character do?
3) What is the character willing to do but can’t?
4) What can the character do, but is unwilling to?
Within these four circles you have your character, their ethics/morals, and their limitations. That is the box you’ve created for yourself. It is important to own it and abide by it. When dealing with a protagonist, those limitations are not just the foundations of a character but the entire narrative.
Your character cannot fight your antagonist in a one on one and come away with any victorybecause you have established they don’t know how to. That
is a limitation you set for yourself. That the audience knows and
understands, so they will expect this character to act in accordance
with it. They may want to walk up to the antagonist and kick them in the ribs so hard those ribs break, but they can’t. That desire could be a driving force behind them learning to fight later. As of now, though, their powerlessness in active violent conflict serves to reinforce the antagonist’s position. Reinforcing the antagonist’s position is for the narrative good.
They should be making choices based on the Venn diagram’s center: when what they can do meets what they are willing to do.
If what they can’t do conflicts with what they’re willing to do and they go with it anyway then the result is a failed escape attempt. A captive’s survival is based on their value. If they’re valuable enough for the antagonist to go through the trouble of capturing them in the first place, then they’re probably not going to be killed. At least, not until their value runs through. They lose and wind up back in captivity under more scrutiny, more security, and with fewer exit options. This reminds us why they were captured in the first place, and reinforces our villain’s position.
A protagonist can fail and retain their legitimacy many more times than an antagonist can. While this is a perfectly legitimate narrative outcome, I don’t think its the one you’re looking for.
This is the second issue with your question:
A narrative’s antagonist is its backbone.
Your antagonist is one of the most important pieces of your story, if not the most. They are the lingering threat, the shadow hovering over the story, and the knife at your protagonist’s throat. They are seventy percent threat, and the last thirty relies on their ability to make good on it.
One of the biggest mistakes an author can make is assuming their antagonist’s position in their narrative and the threat they provide are impervious to harm.
Unlike your protagonist, your antagonist is always in a precarious position. They must constantly re-affirm themselves and the threat they represent through their actions. That threat is all consuming and when challenged, it must either be defeated or confirmed.
If defeated, then the threat is gone.
If confirmed, then the threat level is heightened because now we imagine what they might do next.
An antagonist can re-affirm themselves after a defeat, but they’ve got to double down on their effort and create a new threat rather than relying on their old one. You as the author must work harder to make up for what you lost, and even then you’ll never have the initial fear ever again.
The first rule of the antagonist is: your capital is limited, so spend it wisely.
When you undercut an antagonist in favor of the protagonist before its necessary, you damage the antagonist’s credibility and, subsequently, their position in the story. When you lose your antagonist, you lose most of your narrative tension.
A character who doesn’t know how to do something is applying a limitation to the character. You are applying a restriction to what they can and can’t do. If you’re character doesn’t know how to fight, then fighting will be off the table. More importantly, having your character succeed at a skill set they have no experience in doesn’t make them “awesome” or “cool”, it means instead that the other characters who put time and effort into honing these skills suck.
When those characters are your antagonists… that hurts.
If you’ve got a protagonist with no hacking experience who manages to overcome a supposedly great hacker on their first or second go round with no time spent learning how to hack, then who looks bad? The second hacker. They’re the ones who are supposed to be good at hacking. If the narrative hinges on them being a major antagonist, then the author just shot their narrative in the foot.
Combat skills are the same way. They’re a skill set, not an instinct. They don’t come naturally, and take a great deal of time and effort to hone.
If your goal is to show your dangerous antagonist is a bumbling moron when an untrained teenager gets a lucky shot so miraculous they manage to lay them up for the rest of the story, then that’s a job well done.
If your goal is for the antagonist to maintain their credibility within the narrative? Don’t use them for a punching bag.
Violent confrontation is based just as much on threat of force as it is on the follow through. The threat is usually more frightening than what follows, and your protagonist is already challenging the fear by trying to escape. From a narrative perspective, if they get over their fear enough to challenge their antagonist directly then it’s game over. You spent your all capital either at the beginning or midway through the story, and you’re not getting it back.
Remember, your antagonist has to do just as much work to earn their street cred as your protagonist. Their position is a delicate balance of power management and threat of force. They rely on show over tell. They need to live up to whatever it is you’ve been saying about them. They need to be as dangerous as they’ve been puffed up to be, unless their reputation itself is the real antagonist. Never forget, your antagonist (whoever they are/whatever it is) is the backbone of your story. They are often the driving force of action, the reason why the protagonist is struggling, and the focal point. In some ways, they are more important than your protagonist because without them the protagonist’s got a whole lot of nothing.
When you undercut your antagonist, you also hurt your protagonist’s development. You cheat them of their chance for growth, and deny them their ability to show off whatever it is that they’re actually good at i.e. using their bravery, intelligence, and cleverness to sneak out.
If your protagonist beats down their Goliath at the beginning of (or even the middle) of the story then there’s no reason for them to go to the mountain master and learn to throw rocks.
Summary: On a whim, Bucky declares you to be his girlfriend to his grandma and mother. They’re eager to meet you and he asks you to pretend to be with him for just one dinner with his family. But is that really all?
A/N: Thank you for coming on this journey with me! Here’s to the next series! <3
Bucky felt like a lab rat, being
observed and analyzed to the deepest parts of himself. Fidgeting, he glared at
Steve and Peggy. “What?”
“What?” scoffed Steve. “We should
be asking you that. What the hell is going on, Bucky? You don’t really look
like you care so much that your girlfriend is cheating on you.”
Bucky raised a finger and gave him
a cheeky smile. “Actually, I have fed you the incorrect information?”
“Fed us?” asked Peggy, voice filled
with indignation. “What are we, your pets?”
“I’m just sayin’! I haven’t been
completely honest with you.”
“Then what is the truth, Buck?
Because it’s all pretty confusing right about now, and your ‘girlfriend’ is not
exactly the best of persons at the moment,” said Steve, crossing his arms over
his chest. He looked every bit the part of a father and Bucky stopped himself
from teasing his cousin.