Does political correctness in fiction really make a difference?

There is a trend I noticed on tumblr, especially in the webcomic and askblog genre, that deeply annoys me. I think there have been multiple complaints about it already, but I doubt any of them had a solid explanation why it is so making people feel that way. When someone tries to address it, they get shut down very quickly and called all sorts of names and get accused of being apologists for rape, sexism, racism and all sorts of other stuff.

I’m talking about self censorship and political correctness. This has been talked about by many people, and lately it has been used by politicians like Donald Trump and thus criticism towards political correctness has been labeled “a right-wing thing to do”. So, let’s talk about that.

I think political correctness is important in politics. You are ruling a country? You better talk to your people properly. You’re on the internet discussing with others? Stay respectful and don’t use slurs or make jokes that could hurt the other. So yes, that’s settled. In real life, political correctness has its place and it shouldn’t be seen as a bad thing. So, what about fiction?

This is where I see a problem. Many artists on tumblr see themselves forced to construct their stories in certain ways to please their audience. You can’t have your characters use offensive language, be racist, sexist or homophobic without people assuming the artist shares those beliefs.
Only villains are allowed to show those flaws. 

This ruins good story telling and I’ll show you why: what tumblr is focusing on is a Disney-esque story telling with the bad guy and the good guy, where the good guy should teach you a lesson by displaying admirable behavior while the villain personifies all the evil in the world. Thus, the protagonist - who is usually the good guy - displays the author’s beliefs on what is right and wrong and therefore is not independent from its creator. I get no kicks out of reading a story where the main goal is pushing certain ideologies down my throat with the subtlety of a Jehova’s witness.

This doesn’t mean I don’t want meaningful stories that teach the audience a lesson. On the contrary, those are one of my favorites - but they have to be approached a different way. I’ll show you a positive example: Gomorra - La Serie.

Originally posted by hachedesilencio


This is an Italian show discussing the Naplitan mafia and its structure. This could easily be a boring thriller about cops chasing down criminals, with the occassional moral question. But what does this show do instead? It’s told from the Mafia’s point of view.

It throws you right into a mess of questioning yourself and your own view of these people by simply showing you the reality of being a mafia hitman, No policing, no political correctness. Racism and sexism and all that other nasty stuff are all over the place and yet this show will teach you more about those things than most “friendly reminder"s on tumblr dot com.
It doesn’t give you a safe moral ground. There is no “This is right and this is wrong” indicator. You are constantly forced to zoom yourself out and in again to understand these characters and why they are acting that way, they make you think and ask “Wait a second, am I rooting for a brutal killer?” when there is an epic chasing scene. 

Originally posted by gomorra-gif


You finish this show and you’ll hate the mafia, its structure and what if forces people to do, but this is your personal lesson because you thought about it during the whole watch. Did they need to make a character say “don’t say nigger, that’s bad”? No. They researched tons about the mafia instead and tried to make it as close to reality as possible. This is the real horror of the story. I don’t think this show would have worked with political correctness and self censorship, because it takes so much away from the world building.

Fear, anger, crime, bigotry …those ugly things make your story real because people who use slurs and are sexist exist and they aren’t even “villains”. They’re just characters. This also works in reverse.
Some guys in Gomorra are nice to a trans kid one time when it got bullied, does this make them admirable? Not really, they’re still killers. When finding inspiration for your stories you will be confronted with all sorts of people with motives and behavior and beliefs that are too diverse to cut certain parts off to fit a politically correct narrative. Remove yourself from your story and think of the people in your story as real people, not as a cardboard outcut of themselves to project political ideas on. Like this, you’ll be able to challenge your readers, and write stories that leave them with a questionmark after their beliefs.

This works for comedy too: Just watch french movies like Qu’est-ce qu’on a fait au Bon Dieu? - “Serial Bad Weddings” in English. Lots of slurs, misunderstandings and prejudice, but in the end the character’s journey will give you enough thoughts about your own stance on racism and its consequences without appearing like a lecture - just by having the characters act human.

Originally posted by theflavourofyourlips

And even kid’s shows can challenge their audience by doing just that! Just look at Avatar - The last airbender. The character etablished as your stereotypical villain goes through a long transition, falling back and making mistakes all over the place. Saying nasty things and holding really offensive opinions - but behind this mask, we see a child afraid of being alone. So…what is he? Bad or good? This is up to the audience to decide until his journey is finished.

Originally posted by how-do-you-do-the-do

TL;DR: See your characters as human beings, research lots, try to make your fictional world real and don’t care for the Social Justice Police. 

In Defense of Hiyoko Saionji (and others)

I serious, massively despise the way Saionji’s character was treated.

It’s a little-known fact in our fandom that Fuyuhiko Kuzuryuu was meant to die during the third chapter, but that plot was scrapped both from a writing perspective in order to avoid making the previous chapter seem like a shaggy dog story, and from the more sympathetic perspective of avoiding Pekoyama’s sacrifice being rendered equally meaningless. I genuinely think this was a tremendous mistake for several other characters at the benefit of only one.

To start, let’s contemplate this revision: these writers, of all writers, were afraid to create the despair of a character arc being cut short? Kodaka, of all people, being afraid of despair? The same Kodaka that was alright with putting Ishimaru through an absolute hell that ultimately led nowhere for him before ending abruptly. And then his answer to this dilemma was to do exactly the same thing to Saionji, only far worse. Let’s not forget that writer sadism plays a major part in just how sadistic the characters in play are allowed to be portrayed: thanks to so little thought being put into her death to the point that no one bothered to look for her murder weapon, the entire Celestia parallel of that chapter is marred by confusion more than despair by making Celes seem ruthless while Tsumiki ends up looking sloppy (I’m sure the laundry list of plot holes with that investigation have been covered enough).

Let’s talk about Ishi for a second: he was basically one of the only people in the original group honestly trying to inject some order into the predicament and keep everyone organized and united, whether they were willing to listen or not. When that sense of responsibility reached a point of him blaming himself for not stopping his best friend in a situation he couldn’t possibly have controlled or predicted, he went near-catatonic with the guilt. Finally, when our protagonist felt bad enough to try and cheer him up using the laptop that seemingly held his last shot at being “forgiven” it only ended up making him an easier target for Celestia to kill (again, she looks so very ruthless under this light, like a proper villain, while Naegi looks so very human and fallible, unlike the messianic figure he’s portrayed as later in the franchise). The real tragedy was that his overbearing nature made it that much harder for the other characters to mourn him because of how poorly they understood the depth of his suffering.

Compare that with Kuzuryuu, who actively tried to spread distrust within the group and failed at it, directly caused two people to die and ultimately grew to be a better person partially through his friendship/comradery with the protagonist. Picture for a second how off-putting it would be to have him die just as he was showing signs of growth, making players long to know what kind of or how much of a good person he could have been. Under these circumstances, he almost becomes a mirror to Ishimaru, much like the majority of the Dangan Ronpa and Super Dangan Ronpa 2 casts play foil to each other’s traits.

Losing this dichotomy, the writers are forced to keep the Chapter 3 parallel going by handing those traits off to Mioda, emphasizing her friendlier nature with her attempts to organize a concert in a need to bring the group closer together. Like Ishimaru before her, she stumbled on her way with all these good intentions in her heart by instead freaking them out with the kind of music she plays, only to be tragically robbed of the chance to at least die the way she would have wanted to (with a completely different personality). While certainly a flattering portrayal for her, it still comes out of left-field because of her spending the last two chapters acting as the loopy comic-relief character more often off in her own world and detached from the severity of the situation: compare her contributions during trials to Ishimaru trying to push the discussion and realize she has more in common with Hagakure up to that point. I’d even argue her final free-time event attempts to play into this unexpected quality of hers by making her one of the only students either trying to help Hinata recover his talent or help him come to terms with himself (which, if I’m being honest, comes off as a little cheesy and unusual coming from the girl that called Imposter Ham Hands or whatever translation you like to use so shortly after his death). I like her character enough for her to be in my top 3 female students, but I don’t see a throughline or a foundation for this characterization compared to the rest of her development, and so it comes off as awkward; I want her to be motivated by her own flaws, rather than acting as literally the only student in the series who helps the protagonist at the end of her free-time event path instead of the other way around. There’s more interesting parts for her to play than just tragic savior.

So naturally, this shake-up of how character development was getting doled out meant Saionji now had to occupy the same space Kuzuryuu was going to of being the mean character that would die before getting the chance to redeem themselves, except the role made a lot less sense for her because she needed more development up to that point in order to make her loss feel that much more tragic (the way she praises Mioda’s performance felt incredibly forced considering her clear preference for all things traditional). I love to think of what it’d be like to see her looking at the guy who killed her best friend bled to death on a pole and realizing it doesn’t make her feel any better. I cherish the thought of her being forced to see the girl she picked on losing her mind in the courtroom and her being completely terrified at the sight, before finding a certain sense of guilt in wondering if her behavior may have led to all this (and you can probably imagine the epic smack-talk Tsumiki would have given her before her execution). Saionji’s was the redemption arc that could have been something incredible.

So let’s examine the aftermath of her death and the subsequent redemption arc Kuzuryuu receives in her place. While I know some did appreciate where his character ended up going, to me his development felt like it had stunted after chapter 3, where he either held the position of Hinata’s right-hand man or spoke in mournful tones about Pekoyama. To me, this does little for his character besides revisiting the themes he played through during the third chapter over and over, while also doing less than was necessary for Pekoyama. I honestly thought her send-off was perfect left the way it was: she delved into the darkest aspects of samurai loyalty and ultimately fought with everything she had up until the end to fulfill her duty to protect Kuzuryuu, which made her one of the few characters to truly shatter Monokuma’s point on every philosophical level. He told her she’d feel despair at the end of her life like everyone else he’s executed had and she instead held on tightly to the one hope that her master would be alright, only giving in when her body could no longer last. That is incredibly dignified, and I feel like Kuzuryuu pushing the topic of her death the way he did undid some of that dignity, because I have trouble believing a servile bodyguard who denied her own wants and desires so adamantly is really suitable to act as a guide from beyond the grave; I don’t believe she could yell at him to stop acting like a child the way he said she would have in that final trial. Sometimes it’s best to let a character death lay where you left it.

Compare that to if Saionji had done the same by emphasizing Koizumi’s motherly qualities, and then realize that a girl like her who has plenty of sass to spare and who’s moral foundation held strong enough for her to declare murder wrong even up till the end of her life would have been a great source of guidance. They could have made Saionji’s dialogue grow less biting over time or even have had her drop vague compliments here and there as she comes to see the rest of the group’s more admirable traits (maybe even coming to begrudgingly admire them or want to change herself in a desire to not be left behind). This is a far more realistic portrayal of how people like her grow: looking inward and slowly realizing they’ve been bad, or seeing the drawbacks of their habits before deciding they don’t want to continue being this way. Bully victims like her who choose to become bullies themselves take years to really change under most circumstances, and that’s a theme that the series has yet to tackle properly. I find that a little sad.

So to recap: because of Hiyoko Saionji’s death and Fuyuhiko Kuzuryuu’s survival, we have Tsumiki’s murder case making less sense than it could have along with her chance to publicly tell off her bully taken away, Mioda given traits she was never properly implied to have, Pekoyama receiving guardian qualities she never displayed in the form the game was implying, Koizumi’s better traits being given less chance to shine than they deserved, and one severely wasted redemption arc.

So to Miss Saionji, I give a toast and a clap. You have a fan in me, little dancer.

Post-Season Analysis 2: Peridot (the one actually made of rocks)

(we love you too, other small green asshole)

(Disclaimer:  I am a liveblog!  I’ve seen up through episode 78, Log Date 7 15 2, and all analysis and assertions made herein are based upon such information as I have received to this point.  Please don’t spoil me about future events in the reblogs!)

This is…shorter than it could be.  I’ve said a lot about Peridot in the last few days, so rehashing it feels weird, but man, that was a satisfying arc.

Peridot’s been one of the best-handled characters in the entire show, in my opinion.  Descents into surreal Looney Tunes madness aside–and not really aside, they’re completely consistent with this character and how silly she is–her arc, lost and alone on an alien world she’s starting to understand and starting to want to protect, is something I’ve become extremely invested in.  As you could probably tell.  Peridot’s journey from beleaguered techie (and devout worshiper of the Gem rulership) to full-fledged rebel has not only been rife with fantastic character development but has remained completely within the bounds of who Peridot is as a person.  She arrived at her decision to confront Yellow Diamond entirely in keeping with her own principles of rationality, and when Yellow Diamond didn’t live up to Peridot’s faith in her, it was her unjustified faith that broke, not her principles.

I’m really excited to see how Peridot incorporates into the Gems’ lives now that she’s firmly on their side (and, griping aside, she’s speaking in terms of being one of them, now!).  I can’t even guess where that’s going to start, but it’s gonna be a wild ride.

It’s funny how people are always wanting to prove me wrong on this one. They say: ‘But he’s not a high-functioning sociopath.’

I never said he was! Sherlock Holmes tells people he is. Why would you listen to him?

Nobody can define themselves.

That’s what he’d like people to think he is. And that’s it–and I think he probably longs to be one. I think he loiters around prisons for the criminally insane, envying them their emotional detachment.

He knows emotion is a problem to him.

A man who has decided to suppress all his emotions in order to be better at what he does clearly has an awful lot of emotion. That’s a very simple deduction. It clearly is a problem for him. So, in itself, that is an emotional decision.
— 

Steven Moffat

(Babel on SVT Sweden, April 2014 [x])

[ Skulls & Tea | Sherlock Creator Quotes Collection | Disclaimer/reblogs ]

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I think it speaks volumes for Jenny’s character and her life when her first reaction to her friend saying “that” is assuming that “that” is something she did wrong. She doesn’t ask “what?” or even “did I hit something?”, she assumes she did something wrong and goes from there.

She’s living with a very strict father, who’s prone to want perfection, as well as working in a restaurant, a place where the satisfaction of costumers is the most important. You can see how stressful it is for her think that she screwed up, and her need to fix or hide whatever she did immediately.

It shows near the end of the episode as well, when Jenny realizes she did something wrong by telling Steven to go inside Peridot’s pod, she is the first to take the blame (in this case a literal punch from Garnet) to help Steven.

Tavrisprite found its existence intolerable. It was in such psychological agony that it exploded after three minutes.

But why was its existence so intolerable?

Tavros didn’t seem to mind being part of Tavrisprite. He actually liked it.

i DON’T KNOW, iT WASN’T SO BAD, i THINK MAYBE WE WERE OVERREACTING, aBOUT BEING ONE PERSON, 

iT WAS COOL BEING ALIVE AGAIN FOR A WHILE, aS A STRANGE UNSETTLING MUTANT, iF WE DIDN’T EXPLODE OURSELVES SO FAST, iT COULD HAVE BEEN AN ADVENTURE, mAYBE,

aCTUALLY, iT WAS PRETTY AMAZING, gETTING TO FEEL ALL OF THE AMAZING SELF-ESTEEM YOU GET TO FEEL, i DIDN’T REALLY KNOW WHAT IT FELT LIKE, i ONLY MOSTLY KNEW WHAT THE PRETEND KIND WAS LIKE, sO, tHANK YOU, fOR LETTING ME FEEL THAT, i GUESS,

~

Tavros enjoyed being part of Vriska. It was Vriska who couldn’t stand to be part of Tavros. He felt the confidence she feels all the time, and found it amazing. But Vriska felt the anxiety and inadequacy that Tavros feels constantly. She found it so agonizing that she exploded Tavrisprite after only three minutes.

That’s how long she managed to endure what Tavros is up against every day. And yet he’s a character who smiles all the time.

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(Art from here and from Homestuck)

Watermelon Civilisation

Now that I’ve sufficiently got the watermelon parody posts out of the way, I want to talk about how the Watermelon Stevens made their way into having their own village, and what they value now that it’s there.

1. On Possessing Bodies

The first indicator of their lives we get, is the farming sequence. As it turns out, the Watermelon Stevens (WS for short) create life. I don’t know if this is something Rose Quartz did with her armies, but if they did, they would be a terrifying force, enemies who could respawn without their commander. I think it would make sense though, that Steven and Rose would be in full support of creating more life. They believe that each individual has an experience worth sharing and a life worth living.

So I guess that makes it terrifying that Steven failed to realised they were playing “Not it” and got chosen, and then the WS body he was in got eaten by Malachite.

That’s a life right there, who had to be sacrificed to move the story along. It was totally sentient, and Steven sort of just popped it out of its body. Nobly, if he didn’t sacrifice himself for Steven’s consciousness, we never would have found Malachite and defeated the Cluster in time. I guess the question here would be about this other WS then.

When Steven’s consciousness drifts back into his real body, does the consciousness of that WS return to its original body as well? If it does, does he remember anything? I’m not sure, but I sure hope so, if not, that’s a terrifying power Steven has. It means that he’s very connected to his soldiers, but it’s also a constant reminder that he holds infinite power over them and that he could take their very real lives away at any moment.

In the heat of the moment, trying to figure out what to do about everything, Steven probably wasn’t too aware of the repercussions of what he’d done. But knowing Steven, he’d be very guilty when he realises what happened to the WS he temporarily possessed. Steven is never up for a meaningless loss of life. That’s why in the WS’s debut appearance, he made a big deal about their fighting one another and the Crystal Gems. It wasn’t worth it and it wasn’t worth the sacrifice of Baby Melon.

Keep reading

5

I love how they presented Steven today. We are so used to seeing Steven as this understanding, protective, loving, nice child with a big heart who seemed like he couldn’t hate anyone and befriended all his enemies. He is always somehow seeing the good in everyone that seeing Steven like this was so different in a way that kinda felt so out of character because we rarely see this side of him, but no it isn’t. The complete opposite actually. Especially given the unfortunate situation, this is so Steven. He wears his feelings on his sleeves. He is very in tune with his emotional side. Whether the are feelings of happiness, feelings of sadness, or feelings of anger, he will let them out because he is so expressive of his feelings.

In contrast Connie was just as angry but in a more calm collect way. She was mad but planning on how to act on it. She was thinking more than actively expressing it like Steven was.

“Still mad about Kevin?”
“Yes”
“Me too”
“You don’t seem mad”
“I’m thinking mad”


It’s cool seeing how opposite these two are with dealing a personal situation. Reminds me a bit of another couple on the show who acted almost the same way in similar circumstances.

“I know you’re still upset”
“Oh so it’s just me”
“Of course not, can’t you see I’m completely engulfed in rage”
“Well it doesn’t feel like it”

We got a load of the lovely Sardonyx tonight, and even though the goal of the episode was to learn about Smoky Quartz, we ended up learning a lot about Sardonyx in the end.

We have the things we already know about her:

The proper words used to describe yours truly are: Specific! Intelligent! Accurate! Faultless!Elegant. Controlled! Surgical! Graceful! And… POWERFUL!

But… shes always on display. Always. Every moment she exists as herself, she’s performing. 

And sure, it’s fun. it’s a LOT of fun. Who wouldn’t enjoy showing off when you have all that to work with? Pearl is reveling in her new found confidence and Garnet certainly seems like she’s enjoying the ride right along with her. 

But she has no idea how to turn it off. 

And when you think about it, it’s kind of jarring. Even Smoky seems to have more awareness of the situation than she does. 

Sardonyx: Don’t worry about Jorge. It’s just you and me.

Smoky: No duh. 


Smokey is a little thrown by the situation, but they play along anyway. And as soon as she starts to realize what’s going on…

They want to impress us. They were planning this all morning- we hijacked their show. I was excited…


She thought she was doing this for Smokey, but in the end she was making it all about her.

IT’S NOT ABOUT US!

She realizes she’s being selfish and falls apart.

Sardonyx doesn’t know how to exist when she isn’t putting on a show. She feels the need to be perfect all the time. When Sardonyx isn’t the perfect center of attention with everything going according to her plan, her components can’t see eye to eye well enough to function as a whole.  

They bring out the confidence in each other when things are going well, but they also multiply their insecurities when they aren’t. Even worse: Sardonyx is selfish. Not in the obvious way, and not intentionally, but in a way that’s subtle until it’s too late and the damage is done. 

She’s a mix of all the problems that come with being a perfectionist but don’t always see when you just look at the surface. That’s not to say she isn’t a good fusion, but she has some things to work through. And she is definitely a very interesting and entertaining character.

Now go back and watch Cry for Help. It’ll definitely put an interesting perspective on things.

Stanford: The Missing Perspective

Why Stanford Isn’t Really an Asshole, Just an Overly Sensitive Owl.

Okay so here’s the deal; A Tale of Two Stans left a lot of fans salty over Stanford, just as badly as Stanford is still salty over Stanley. His reason for hating Stan, aka “destroying” his machine and making him lose his dream school over the selfish prospect of them sailing away together, seemed childish to a lot of viewers. ESPECIALLY because he used it as a reason to stay mad at Stanley over 10 years later. But why would this make Stanford so angry? Why so salty? I mean, he went to school, completed a PHD in less than 6 years AND got a huge $100,000 grant. It’s not like he didn’t get everything that he would have gotten at his dream school… right?

Except what made Ford so angry, so upset wasn’t the fact that the machine broke or that he didn’t go to the school he loved, but the principal behind the entire issue. We don’t really see this because this part of the story - and the subsequent fallout - is all seen from Stanley’s perspective. And to him, this all sounded like really unfair treatment. And it IS. It is cruel to throw your brother to the streets, to not even back him up, because you’re so upset. It hardly makes Ford’s anger and emotion seem justified.

So from Stan’s perspective, this was not an even deal. It was fast, harsh, and left him out on his own. A lot of people related to Stanley this ep, because Stanley is really a relateable character. Like Dipper, he probably felt that he had no redeeming qualities, and that drove him to take drastic measures to make his family proud. Meanwhile, the star child goes to college and finds success.

But What Is Stanford’s Perspective?

Keep reading

Before I do any more analysis, the general impression I got (and I think we can all agree) was that whatever went down at the bottom of the sea for almost a year messed both of them up, and their perceptions of what a relationship should be like are pretty skewed. 

What Lapis did at the end shows that having a support network really is important. She’s taking strides to both recognise she was hurt in an unhealthy relationship and recognise she did some hurting too.

Jasper’s been completely alone this entire time. No one to tell her this was unhealthy; no one to be critical of her actions; no one to stop her from chasing after Lapis. Everything about Jasper so far shows us she wants to be big and strong and fusion gave her that, but it wasn’t healthy. Both of them, at one point or another, were using each other. 

Jasper is doing a lot of harmful things, both to herself and others. She’s desperate to get back on the fusion train because she thinks there’s nothing else for her. And she did a lot of hurtful things to get there, like tossing people around, smacking Steven, not listening to Lapis’ saying “no.” She’s not the same Jasper we saw in The Return, who was self-assured and calculating.

So I’m really glad that Lapis said “no.” She was tempted to go back to that toxic fusion. It’s like experiencing withdrawal from a drug. It’s difficult to leave a relationship when it feels as though you’ve shown everything to the other person. From her point of view, they know so much of you now, what happens when you leave? How do you start again? It was really hard for that “no” to come out, and I respect that she overcame her struggle to jump back into being Malachite. And I like how it came from her and not Steven. She spoke for herself, she made the decision to step away from this and start healing.

But right now, I think they do need time apart from one another. It’s easy to fall back into the same patterns of an unhealthy relationship when the other person is right there. I do think though, that Jasper needs someone to explain things and to make Jasper wake up as well. Lapis had Steven for that, and to an extent she also had the gems. Having no one, isolating whom we view as the “bad person” doesn’t help them change rehabilitate, because they reinforce their own behaviour. If we want Jasper to stop undertaking these kinds of actions, that’s really something to consider.

I’m sure I have more to say about this, but it’s something I still have to put into words.

Post-Season Analysis 2: Peridot

(we love you, small green asshole)

(Disclaimer:  I am a liveblog!  I’m completely caught up on Cucumber Quest, so no need to spare me from the spoiler engine on this one.)

Peridot’s always been a fun element of the series.  Entertaining dialogue, barely villainous at all beyond wanting attention, and hilariously obsessed with Almond, Peridot is–

–uh, what?  PeriDOT, not PeriDOH?

Um.

Well, switching gears, then, hang on.

[Benedict and I have had] a discussion–how vain is [Sherlock], really?

All the great Sherlock Holmeses–including Benedict–are always impeccably dressed, always beautifully turned-out.

I doubt if Sherlock Holmes ever started, ah, dating a woman, that she’d ever see a mirror, because he’d be too busy adjusting his hair. It’s the thing that Benedict started doing, in-character, every time there’s a mirror he just goes–[Moffat motions checking his hair]–‘Still cool.’

–Y'know: 'I find no women attractive, but they’d better fancy me.’

So we discussed how much that is just his need to be the alpha male in the room, and to take command, and to therefore look good … or is there a real moment of vanity?

He wears expensive shirts; he wears good suits. And Benedict’s not the only Sherlock Holmes that does that. They’re all well-turned-out.

[…]

He would dress well because everything that is worth doing at all, as far as Sherlock Holmes is concerned, is worth doing extremely well.
— 

Steven Moffat 

(Babel on SVT Sweden, April 2014 [x])

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Something about Reaper’s Mariachi skin that came to mind today!

My dad, who is Mexican, once took me to an authentic Mexican seafood restaurant that had a mariachi band play a song for someone who was having a birthday. At the end of their song, I decided to clap, but nobody else was clapping with me and I got a little embarrassed. My dad told me that you’re not supposed to clap after a mariachi performance to begin with.

What was Reaper’s primary motivation and flaw? Envy due to a lack of attention. He did a lot of things for Overwatch but his friend we know as Soldier 76 got all the glory, all the time. Nothing he did, other than the evil things, ever got him the attention he felt he deserved. 

I feel like with this in mind, giving him a skin for a profession where you perform with no applause at the end seems incredibly fitting.

So I was taking Trespasser screenshots again and holy shit

So my favorite kiss in the whole game so far is the Trespasser kiss for Solas. Unfortunately, it’s also one of the worst framed ones in the game (that I’ve seen so far.) It also cut out shit that’s kind of nice to know that’s going on with Solas in this scene, considering it’s probably the last time we’ll see them together like this. Seriously, if my walk cycle gifset didn’t demonstrate that whomever framed these shots should feel disappointed in themselves, this is really only going to edge closer to that.

Here’s the shot for the kiss as it is in the game:

Not…awful, but even with the slow pan they aren’t exactly centered in frame, Lavellan makes this weird kissy face, and all in all it’s just not a good looking shot. I’ve made a gifset of this kiss from a few angles in somewhat of an attempt to show it to fans from new, more interesting angles.

While I had it paused during the kiss I noticed something I hadn’t noticed before, and there was no way you’d know this without breaking the camera away, because every shot while they’re close is a close shot of their faces besides what’s above.

I mean, he makes a move to reach, and clearly he’s not taking her glowing hand sense it’s in frame in the above shot but like..just…just. Can you see it?

HE’S TAKING HER HAND WHILE HE TAKES THE MARK FROM HER!

You never see this at all, nothing below mid-chest in the scene, yet they went through the trouble of actually rigging their avatars to hold hands when they kiss! This is so touching!

Why would they go through all the trouble to rig it and never end up putting it in the frame?? This is a beautiful moment between the two as it stands, and there’s so much we miss due to the cinematography. Solas doesn’t close his eyes throughout the kiss even though Lavellan does. He reaches gently for her while she’s in pain from the mark flaring up and takes her hand to comfort her while he uses his magic to remove the Anchor. His move to cradle her head before kissing her wavers like he’s fighting against his will to kiss her because he really has no business being so selfish but he wants to just one least time.

Say it with me: Solavellan Hell is Eternal.