character equation

reading meta on ur fave that just completely misses the fundamentals of who the character is but the post has 100k notes

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Kin without Ableism

Identifying as otherkin or having kintypes can be a fantastic coping mechanism or a spiritual belief, however, neither coping nor spirituality are exempt from potentially being ableist.  

Please don’t:

  • Use the word “system” to describe your collection of kintypes. This is a word used by people with Dissociative Identity Disorder to describe the collection of identities severe childhood trauma split off. This is not appropriate to use for kin. This especially goes for alter- alters are trauma-split identity fragments in DID, not kintypes. I’d prefer you not use “headmates” either, regardless of what kin experiences you’re using the word to describe, there’s probably a better word to use.
  • Use the word fronting to describe kinshifts. Instead of, “Keith is fronting right now,” please try “I’m kinshifting Keith,” “I’m really feeling Keith right now,” etc. Fronting is related to alters and DID. It’s not appropriate to use for kin. 
  • Claim amnesia between kinshifts. Kinshifts are shifts of your identity, how you feel, how you react to situations. You shouldn’t have memory issues or a different core identity between kinshifts, and if you do, you need to seek professional help because you could be having seizures or another serious issue. 
  • Intentionally fracture off parts of yourself or treat specific kintypes as “not you.”
  • Diagnose your kintypes with mental illnesses and claim to have those mental illnesses because of kintypes. If you feel like you might have a severe mental illness, it’s up to you to cope with that and work on feeling better. 
  • Equate kin memories to repressed memories or “true” body memories. If a part of your spirituality is believing in past lives and you have memories of your kintypes, that’s great! However, equating it to recovered trauma memories, body memories (things you’ve experienced in this lifetime), etc is ableist. 
  • Don’t take up trauma survivor’s spaces based on kin memories of trauma. If you have a kintype that’s survived CSA, you may not claim space as a CSA survivor unless you’ve experienced that trauma in this body/life. If you have repressed trauma, it could present as nightmares and you could misinterpret that as kin memories. If you have nightmares of trauma or think you have traumatic kin memories, it’s definitely worth looking into with a therapist. You could be recovering memories and it would be damaging to cast them aside as kin memories. 

Please do:

  • Seek professional help if kintypes make you feel worse. If you feel out of control, if you feel like kintypes are controlling you or hurting yourself/others, if you feel disconnected from reality, if you have vivid or traumatic kin memories, if you have hallucinations/delusions, if kintypes make you feel worse instead of better at any point, please seek professional help. There could be something else going on.
  • Do educate yourself on the differences between tulpas, soulbonds, kintypes, etc and alters. Fictives (fictional introjects) are a type of alter, which again are specific to DID. Alters are split off from severe childhood trauma, and fictives are just alters who have similar grounded identities to that of fictional characters. This is not equatable to kintypes, IDs, soulbonds, etc. 
  • Listen to members of marginalized groups and keep your coping and spiritual beliefs free of ableism, racism, transphobia, etc!
  • Use your kintypes to make yourself a better person! It can be a powerful coping tool and a powerful tool for spirituality! If you’re using kin to cope with trauma, mental illness, everyday life, etc, that’s great. I’m pro-kin, just not pro-ableism and silencing of trauma survivors!


Kintypes are not the same as alters. The core difference is that kintypes are you, whereas alters are split from severe dissociation and trauma and are not you. It’s disrespectful and ableist to equate these. 

Most of the time, kintypes and related beliefs and behaviors can be changed and directed. If your behavior is ableist, racist, or unhealthy for you, it can be changed for the positive! Coping behaviors and spiritual beliefs are not exempt from criticism. 

a post on some shit i’ve seen

“I have a male character, but they’re very feminine so I think they might be a trans woman.”

This is not how being trans works. Being gender non-conforming =/= trans. Here is a list of reasons why this is sexist and transphobic.

  • It implies that men and women must behave a certain way and that anyone who does not adhere to these gender roles must be a different gender.
  • It implies that gender non-conforming trans people do not exist.
  • It negates sex dyshoria.
  • It enforces gender roles.
  • It enforces stereotypes and misconceptions trans people have been fighting against for a long time.

Your male character can be feminine without being trans. They are still a man.

“It’s offensive to describe trans people as being ‘born in the wrong body’.”

No, it’s not.

This is a narrative that many trans people use because it is an easy and succinct way to describe sex dysphoria. Dysphoria is more complicated than this, but this narrative is not offensive.

Stop silencing dysphoric people. Your character can describe themselves like this if they so choose to.

“I have a male character, but I picture him as having little body hair and wide hips, so I think I might make him a trans man–”

This is offensive. If you make a character trans because they posses physical characteristics that are seen as “undesirable” or “not typical” on people of their sex, then you are sexist and transphobic. 

Cis men can have wide hips and little body hair. Trans men can have narrow hips and a strong jaw. Cis women can have lots of body hair and a deep voice. Trans women can be short and curvy.

“My character is androgynous and it’s difficult to tell their gender so I’m making them non binary.”

Okay…

  • By claiming that non binary people are always androgynous appearing, you are creating a new set of gender roles and expectations while simultaneously doing everything in the first thing I talked about.
  • “Non binary” and “gender non-conforming” are not synonyms, but this doesn’t mean non binary people can’t be/aren’t gender non-conforming.

“Cis people are boring so my characters are all trans.”

This is the wrong mindset when talking about representation for trans people and when writing trans characters. When you equate “cis” to “boring” and “trans” to “cool” and “interesting,”, you are fetishizing and dehumanizing trans people. 

We are not trendy accessories that will make your story better simply by being there.

BTW, boring trans people exist. Because, you know, we’re people and not this year’s most popular Christmas gift.

“Reveal that your character is trans by showing their scars/body.”

Allies and transphobes alike have a fascination with the bodies of trans people. It has gotten to the point where “allies” spread private information about the medical lives of trans people to the general public. This has turned into a “how to spot a trans person” game.

Your characters do not need to be half-naked to show that they are trans.

“Dysphoria is self-loathing and can end up bringing too much angst to your story.”

Dysphoria is not self-loathing. This is a huge misconception. Dysphoria is a disconnect between someone’s brain and their physical sex.

When people experience sex dysphoria, their sex characteristics feel foreign. It is not simply “hating your body.” That narrative should not be used in fiction. Ever. It is false. Body positive feminists (both lib and rad) use it to vilify sex dysphoric people.

Do not ignore dysphoria. A lot of people don’t know what it actually is and confuse it for internalized misogyny. Dysphoria needs to be a part of fiction featuring trans characters so that we can work to end the misconceptions about it.

Also, do not “cure” your character’s dypshoria with love or romance or sex or self-acceptance. That’s not how it works.

//I notice a lot of people seem pretty upset that the King is reenacting Rapunzel’s being trapped in the tower by keeping her locked inside the Kingdom. And a lot of people are saying this overprotective father trope is unoriginal and uncreative.

Normally, I would agree with that second point. But here’s the thing- that first point is narratively the ENTIRE point. The narrative is going to force Rapunzel, to a degree, to re-live her trauma.

Does Rapunzel deserve it? No. But is a three season TV series of nothing but fluff and happiness good TV? Also no.

The show is doing this because it wants Rapunzel, and by extension the audience, to deal with the reality of what happened to her. Rapunzel is an abuse victim. Rapunzel was isolated and held captive by a woman she genuinely thought was her mother. A woman Rapunzel loved and believed was protecting her and keeping her safe. A woman who deeply hurt and betrayed Rapunzel in the end, before dying right in front of her.

The Gothel-Rapunzel relationship is extremely complex. It grows even more complicated when you add Gothel’s emotional life into the mix. Gothel did not hate Rapunzel, or even disregard her. She cared for Rapunzel in her own way…but the hair always mattered more. And it was abusive, but Rapunzel felt loved, and in a way she was, but then Gothel was lying to her, but she loved her, didn’t she?

(That was getting a little into Rapunzel’s head. But do you see my point?)

That all put together is traumatic as fuck. That Rapunzel does not have full PTSD is a testament to her amazing resilience.

But to brush that all aside and have the narrative of this show focus on other things would, frankly, be irresponsible show writing. What this series is doing is showing its audience, quite blatantly, that they are not ignoring what Rapunzel went through. In fact, they are forcing her to deal with it by making her essentially re-live it, albeit on a different scale.

This is going to force Rapunzel to talk about it (which I get the sense she hasn’t.) It’s going to force her to be honest about her own feelings. It’s going to force her not to hide from her past. And I am so here for all of this.

Now, were there other ways the show could have done this? Sure. But they are smacking you across the face with it for the purpose of making it obvious. It is a kids show, afterall, and they don’t want to be too subtle. This seems the perfect level of subtlety to me, when I think of it from a child’s perspective.

So when you complain that the King is reminding you of Gothel?

Yes. And that is exactly the point.

anonymous asked:

HEY LOVE (i hope your sitting because this will be a rollercoaster) I was thinking about writing a story about a boy going on like a culture exchange thing and living at a girl's house, the only thing is he only knows basic english so i was just wondering how i would go about it? like how would i be able to convey his thoughts and actions and even the dialogue (the girl will also be learning his native language) i hope this makes sense ;-;

HELLO DARLING <3  That sounds super adorable!  Language barriers between characters force you to be more creative in how they communicate, and therefore, how their relationship develops.  It’s definitely an undertaking, but once you’ve gotten used to using non-verbal methods of description and communication, it’ll feel just like any other story you’ve written.

Writing Characters with Language Barriers

I’m assuming that as your story progresses, your characters will learn enough of each other’s language to communicate a little better – but until then, you can make use of…


Body Language

Body language is the obvious first answer to writing without deep dialogue.  When two people with a language barrier try to communicate, there’s a mental process – scrambling to think of a way to describe something, trying out a few words, then resorting to hand gestures and using objects.  There are two types of body language:

  1. Conscious body language – which the two characters may use to communicate with each other when words fail them.  This kind of body language includes facial expressions, hand gestures (some informal sign language?), physical displays of affection (platonic or romantic), or using/pointing at inanimate objects to convey their meaning.  Remember that the more tired or distracted your characters are, the more difficult it will be to remember words or phrases in each other’s languages – so they’ll be more dependent on physical signals and tone of voice.
  2. Subconscious body language – which all characters use, but often goes unnoticed.  When your characters are communication without words, however, they will be more aware of each other’s small tics – their accidental facial expressions, nervous body itches, affectionate stares, frustrated jaw-grinding, and the alike.  When writing from the POV of Character A, allow them to examine Character B’s eyebrow twitches, falling gazes, and face scratching.

Here is a book I recommend for expanding your body language terminology.


Actions (speak louder than words)

If your characters struggle to explain concepts more complex than eating or sleeping, or emotions deeper than happy or sad, it’s doubtful that waving their hands will help them very much.  Instead, there may be opportunities to cut dialogue out of the equation – Character A knows they won’t be able to explain a concept, so they… show rather than tell.  This will result in a few things:

  • Gestures – Think about it: when a person is in love with someone and they don’t know how to say it, they tend toward romantic gestures instead.  This is the same for two people who don’t know how to verbally express complex emotions – like growing friendship, thanks, guilt, sympathy, etc.  Gifts, songs, games, special meals, and cards can help to express emotion or explain foreign holidays/concepts.
  • Assumptions – When Character A knows that they won’t be able to explain something to Character B, they may engage in preemptive behavior – foregoing conversation and skipping right to handling things.  Instead of asking B if they know what a cheeseburger is and if they’d like to try it, they may just order one for them anyway.  This can sometimes result in secrets, too – knowing that Character B won’t understand why they offended someone at the party, A might lie and say nothing was wrong.  These secrets may be intended to spare the other person or to take advantage of the other person.
  • Leaps of Faith – When all else fails and two characters just can’t understand each other, they make take a leap of faith and trust each other implicitly.  They give up on trying to understand each other’s words and instead trust intentions.  This is where verbal communication ends and actions begin.

Dialogue

And lastly, there is a way of handling dialogue, even when your characters’ mutual vocabularies are limited.  My advice would be to, as non-condescendingly as possible, think of complex thoughts in terms of how you would explain them to a child.  This isn’t a slam on your characters’ intelligence – but children do have limited vocabularies, so this is a good reference.  If there are words a small child doesn’t understand, you may explain it with smaller words – or if you don’t have enough small words, you may include gestures or noises.

For instance: the odds are, your foreign speaker will mainly know action words and conventional phrases (like “thank you” and “good morning”), as well as things like night and day, breakfast and dinner, cat and dog – things you might learn from experience, or a language class.  So when your English-speaker wants to explain a term like “hangover”, they may have to use “drink” and put a hand to their head symbolizing a headache.  This is easily communicable, but not directly.

The goal here, though, is not to over-explain or belittle the non-native speaker, on either side.  If Character A does make Character B feel embarrassed or unintelligent, Character B shouldn’t let this go unaddressed.  Otherwise, this can feel like a slap in the face to readers of Character B’s race/culture.  The best way to learn what words a foreign speaker should know is to try taking beginner’s (or even advanced, depending on the extent of the character’s learning) classes in a foreign language.  Take note of the kinds of words and phrases you learn first – for example, in my Spanish class, I first learned things like, “Where are you from?” and, “I ate soup for dinner.”  I learned numbers 1-20 and the days of the week, and how to ask where the bathroom was.  I probably wouldn’t be able to understand the answer to that without hand motions, or probably half of the words in your response, but hell, I knew that phrase!

In summary: decide how extensive your character’s second language is, then use the words they know + sounds and motions to communicate.


That’s what comes to mind right now, but I’m sure there’s much more I’ve yet to cover.  If any of my followers has anything to add (maybe from experience?) be sure to jump in!

Thanks again, anon, and happy writing :)


If you need advice on general writing or fanfiction, you should maybe ask me!

anonymous asked:

Any tips on writing an evil protagonist? How do I make sure people won't just go "oh he's a villain who cares what happens to him"?

Writing an Evil Protagonist

Okay, so when I started working on this question, I thought the question was how to write an evil antagonist. You know why? Because we see the word evil and immediately associate it with antagonist. So right away, it’s an obstacle you have to overcome when writing this story. You’re setting yourself up for a unconventional challenge, so as long as you’re prepared for a potentially rocky road, you’ll do just fine with this.

But let’s be clear about one thing first. Even if we were talking about an evil antagonist, readers would still care what happens to the character. Because the good fortune of the hero is often tied up in the misfortune of the villain. So every reader will care what happens to them. Rooting for a character to fail equates to caring, particularly when it comes to fictional characters.

So whether your villain is the antagonist, or in this case the protagonist, readers will care (one way or the other) what happens to them. But to address the point I think the asker is wanting, how do we get readers to root for an evil protagonist?

[Note: The following three tips aren’t necessarily meant to be used all at once. You could, sure, but it’s not always appropriate.] 

The villain doesn’t realize they’re the villain.

When a villain has a motivation they’re passionate about, and they feel their actions are justified, then they likely won’t think of themselves as a villain. They might be the type to think their work is for the “greater good,” or perhaps they’ve been wronged badly in the past and think that revenge is justified given the circumstances. When a villain’s motivations are strong and full of passion, they’ll likely believe they’re doing what’s right. And if they believe it, we’ll believe it. Because as the protagonist, they’ll be showing us the “underneath it all” revelations that go along with their evil actions. Most antagonist’s evil attacks are shown from the protagonist’s point of view, and we don’t get to see what led them to take the actions they took. 

Their nemesis is obnoxious, like really obnoxious.

It’s unlikely that you’ll be able to make the evil protagonist’s nemesis more evil than them (though maybe you can!), so instead, make the “hero” or “good” character annoying as hell. Make us want to slap that goody-two-shoes in the face. Maybe this hero is arrogant, boastful, makes bad jokes, or puts on a cheesy show for anyone watching, always trying to show that they are the one with the power. This character is probably the type who does good deeds because they love the attention, and not because they enjoy saving the world or the humanity inside it. 

Their journey to goodness is chronicled. 

Perhaps your evil protagonist isn’t always going to be evil, and you’re writing their progression from someone with evil intentions to someone with good intentions. These stories can be very interesting because to do this effectively, a reader has to get to know the protagonist very, very well, in order to see their motives progress from one extreme to the other. The writer has to be dedicated to writing the character’s thought process when making decisions, so readers can see that thought process evolve. Great consideration also has to be made when it comes to devising what plot events will push a character to make these changes.

And lastly…

A book recommendation for you: Vicious by V.E. Schwab. Confession - I did start this novel several years ago, and I didn’t make it far enough to get hooked due to other things going on at the time, so it’s been in the back of my mind on my mental TBR list for ages. But this book features two characters whose once harmonious working relationship is destroyed when their academic experiments go tragically wrong. Enemies now, they are each motivated by their own personal agenda of power and revenge. (Revisiting this book reminds me that timing is everything - just because you don’t enjoy a book at one point in your life doesn’t mean you won’t later on. You have to find each other at the right moment :)

Good luck with your evil protagonist!

-Rebekah

Well now that it has been confirmed that Sebastian will be in Season 2b I've got a PSA

DONT ship him with Clary when the big reveal happens and he possible does the thing.

DONT ship him with Alec (yes people actual ship his crusty ass with Alec)

DONT try and call him your little bean or some straight white fangirl bullshit (he’s homophobic, murderer, sexual abuser, and child killer)

However….

DONT send hate to the actor that is cast. He’s playing a role, it’s his job, and it makes no sense to equate the character with the actor. We will open said actor with open arms like any other cast member…

Do you ever just sit and think about how in the past six years you have spent over a total of 10 seasons and two different TV shows shipping a couple and feel completely ridiculous for going so hard over two fictional characters destined to never equate to anything? But then realize that by this time next year that couple is actually going to be endgame and you literally can’t believe you stayed this committed for this long and it actually paid off like FAM what other fandom has ever

me, waking with a start at 4 am: in maureen’s vision she saw seven birds but who are the seven? she mentioned twins but we don’t know any twins….is there a secret twin yet to be revealed or is it more metaphorical? how do the three main characters fit into the equation? are they even amongst the seven? one would assume that magnus is “the protector” but where does that leave merle and taako? the lover? the peacemaker? neither particularly fit them…and who are the others??? is it merely coincidental that there were seven birds and are seven relics? if magnus is the red robe who was the female red robe who was the original umbrastaff owner? is she lup? maybe the red robe is actually magnus’ long lost twin…why do all three of them have a significant amount of their memory missing? who gave them those badges at candlenights…WHY DID MERLE SEE A STAR GO OUT

For anon:

You assumption is totally pertinent. Kishimoto just might have blighted narusaku. And NS as a couple won’t transform the ninja society without radical grassroot reforms. But why do I ship them? Because of my personal history with Naruto. I didn’t particularly ship them when I first became acquainted with Naruto - their dynamics just made them appear to be the most plausible pairing. Romantic love felt to be the perfect logical conclusion to their character evolution as depicted. A reasonable prediction of romance - this much was my involvement with canon narusaku.

After the Sasuke retrieval arc i watched Naruto pretty much sporadically and eventually lost interest in the anime. The concepts were intriguing though, so i almost exclusively retired to fanfiction. At that point of time, i wasn’t bothered by the problematic issues handled by the story, instead i was infatuated with a particular character. Exploration of core issues was secondary to my fave’s status as the protagonist. Anyways all my updates were sieved from fanfics and were not too thorough either. Gradually I cut back on my fanfiction consumption which had become too very addictive and hindered my studies. All i retained was the skeleton of the premise and the vague outline of characters. If you can believe it, I came to know about shippuden’s conclusion last year only.

You see, Naruto had been so much like opium that I had consciously refrained from getting involved with it a second time. Once in a while i would peruse my favourite fanfics and that was that. When i finally learnt about chapter 700, i was shell shocked. The thing i had been most curious about was not any pairing but Sasuke’s fate. And it was fucking anticlimactic to know about the resolution of the series.

You see, according to my past knowledge, NS had felt like a given. So my anticipation was all about Sasuke. Did he die at last? If yes, under what circumstances? If he lived, how did he manage to achieve closure about the Uchiha massacre? What was the final ethical stand of Konoha? Were all the troubling clandestine operations finally banned with punishment meted out for past offences? Where did the Konohans finally draw the line? Did group morality triumph over the personal? How was the ambivalence about good and evil finally settled? Ironically, Sasuke was the epicenter of all these questions and my interest was specifically arrested by his ultimate fate and its implications for the ninja world as a whole.

Needless to say, i was disappointed. No true resolution of the vexatious issues and the epic showdown monopolized by an overpowered duo and the main villain disposed of so erratically to introduce Deux ex machina style another supervillain. Madara’s philosophy actually merited consideration - sacrificing reality for freedom from pain. It deserved to be scrutinized and answered, even if ambiguously. But no. All it got was a simplistic appraisal before going altogether moot with Kaguya’s superfluous entry to the scene. God-like powers, a flimsy character background and sudden attribution of the shadow supervillain crown - it was a classic bullshit move.

And then came the pairings. It was the last straw. Not only the Byzantine intermeshing of NaruHina but also the fucking travesty done to my favourite character. The person she ended up being - it was a damn nightmare. And the person worst implicated in this sabotage was, most ironically to my consternation, Sasuke. As for Hinata, she went from being an almost invisible speck to the cynosure of it all.

For Sasusaku to be, NaruHina was needed. And the final product of this infuriating algebra was one parody of a Sakura Haruno. Which couldn’t have been possible without the undermining of Narusaku relations, a pathetically concocted sasusaku and Hinata appropriating and subverting the main story. Thus not only was the ending terribly contrived with no real closure, but my precious character was mutilated beyond recognition.

The lack of a mature resolution was disappointing, but THIS was aggravating like hell. I hadn’t felt so outraged for a fictional character all this time and this discovery was like a fucking cataclysm to my imagination. So from being complacently convinced about narusaku as an inevitability, i went to become a NS shipper with a vengeance.

And now without my childhood naivete, all that was invisible to me then became glaring enormities now. Thus I came to have two axes to grind but Sakura will always take precedence over the bungling narrative. Turns out it’s an attachment i can’t exorcize myself of despite the passage of time.

So yeah, NS wouldn’t have made any difference on its own while the status quo remained essentially unchanged with a cosmetic gloss over. But all the shoddy development leads inexorably towards the canonised pairings, making it the most obvious target for criticism. The tip of the iceberg, if you will.

For example, Kaguya was completely unnecessary if not for the intention of protracting the series with a new treasure mine of antagonists. Neji’s death was gratuitous as well, a preposterous contrivance to propel NaruHina. Remove the couples and new gen characters from the equation and you get so much space for a worthy denouement.

Now pairings were only necessary for a sequel featuring the next gen ninjas. Eliminate the pairings and you can instead concentrate on the immediate aftermath as well as the gradual reordering of the society. For this to have happened, no ludicrous change in the NS dynamics would have been needed, thus naturally culminating in romantic love.

Alternatively, instead of placing emphasis on conjoining them romantically, attention could have been paid to the new dialectics of Team Seven which could be considered as a microcosmic portrait of human impact of the ninja business with all its ambivalence.

The central canonised pairs are as static and complacent as the new Konoha. If you think about it, the lack of structural reform is mirrored by the stasis in personal relationships. There has been no substantial growth, both character wise and society wise. In Shippuden, private issues were inextricably linked with systemic iniquities in Konoha. Gaiden is all about children with daddy issues in a vaguely defined commune of the ninja with extraterrestrial dangers since issues endemic to their society got resolved magically.

Erasure of canon pairings could only be a small prelude to the radical restructuring of the ninja business, if not its complete annihilation. For me, narusaku embodies a shift from sentimental romance to a holistic revolution in the ninja universe that includes nuanced exploration of love. It is a pair that could be easily assimilated with the canon developments until the shinobi world war while functioning as the centre of the divergent narrative.

Such are the reasons for my ardent Narusaku love. Canon remains unaltered for the major part, the facile resolution is substituted with realistic (and consequentially arduous and protracted) measures that bring about genuine transformation and my precious character evades an abrupt, uncharacteristic and altogether debilitating transition.

It goes without saying that with Sakura eliminated as a romantic candidate for Sasuke, Hinata not playing usurper and continued emphasis being placed on team seven, Narusaku emerges as only one of many possibilities in the resultant tableau. It just happens to be the one I’d rather prefer.

P.S. Hope this suffices, dear anon. If not, feel free to enliven my sad, empty inbox:)

P.P.S: I didn’t dwell on Sakura’s character in a hypothetical tryst with Naruto since canon Narusaku is mostly impeccable as it is and doesn’t do Sakura an egregious disservice like another pairing. Sakura Haruno stays Sakura Haruno, not an emasculated shell of her essential self.

so uh this is gonna be a bit different

im posting it here to spread information and because a lot of my followers know this and will know what im talking about. if you don’t know what eddsworld or paultryk is, ignore this post.

a few weeks ago Patryk, the actual human being, made a post about the ship in Eddsworld about 2 characters based off him and his friend. he was very upset about it. Patryk was originally added as a background character when he donated to Eddsworld legacy as a supporter reward, and said he never would’ve donated if he knew what it would’ve caused.

Now don’t get me wrong, I loved the ship, it made me happy, It was one of my most favorite ships on the face of this earth but no matter how much something “cures your depression” or helps you cope, you have to respect the creator. You just have to. No matter how much it sucks. Both Patryk and Paul want absolutely nothing to do with the show anymore and such an amazing thing has been ruined for them due to the fandom.

Patryk mentioned that if you absolutely have to keep shipping these two he asks that you please refer to the character as Patryck rather than Patryk, so that he will no longer be associated. He said literally people cannot look up his name without seeing paultryk art. also paul is fucking married irl so even if you find you don’t want to stop seeing these characters–stop using their real last names. stop associating the characters with them. Tag your art as #paultryck from now on. When you associate them with their characters you are literally equating a human being to fiction. Someone’s life is not something to write “headcanons” for.

people don’t understand that this is the reason Tord disappeared from the face of the earth, that this is the reason Tord had to change his name. Please just don’t take it too far or it’s going to happen again.

❝ New beginning ❞

Plot: After six months, Seokjin finally “reveals” his feelings for you but he doesn’t want to betray Jimin, so he ends up to set a date with Jaehwan (Ken). Who will you choose in the end? 

Pt 1; 

Character: Reader; Seokjin; Jaehwan; Jimin and BTS.

Words count: 2k

Warning: none

Hi cuties! So I decided to create a mini story in more chapters from this scenario “It’s over”, since someone asked for a second part. I hope you like it and if you don’t, feel free to tell me! Constructive criticism is well accepted.

- M. 

Gif aren’t mine, credits to the owner! ♥


“Because it’s hard to be your friend and I can’t betray Jimin, he’s still an important part of my family, Y/N.. So find a boyfriend or you’ll have my poor soul in pain on your conscience”  

You could almost feel your heart stopping, albeit briefly. You couldn’t take your eyes off him, too upset by what he just said. Those words, slowly, made their way inside you, stealing of your mind and confusing you.  

Seokjin was a wonderful guy, but did you ever felt something for him??  

His sweet smile, his fleshy and soft lips just bent at the up, made you almost feel guilty at that moment.  

You didn’t have an answer, your mind was reeling in search of something clever to say but in front of you, there was only the total void. And so you would miss observing his face, the cheeks full and tall, the eyes slightly more round than normal, the bangs on his eyelids because they were too long..  

You couldn’t deny that Seokjin was a good-looking guy, but as he said, there could never be any kind of relationship besides a sweet friendship between you. Right?  

“Y/N.. I have a person to let you know, I’m sure he would be perfect for you. ”  

His amused murmur brought you back to reality and you would get up so fast from your chair that you bumped the cup before you, letting the amber liquid spill over on the coffee table.  

“Fuck.. S-sorry Seokjin.. ” You hummed, starting to blush violently on both your cheeks and the tip of your nose; “You didn’t get dirty, right…?”  

“I didn’t mean to cause you all this panic, Y/N. I would never do anything to ruin our friendship or Jimin.”  

“I don’t love him anymore.”  

That phrase still had a bitter taste on your lips, but you were never more sincere in your life. You had loved Jimin, but those feelings had turned into pure remembrance. Perhaps affection for what, despite everything, he had given you in those months of your relationship.  

Swallowing you would sit again, apologizing over and over again with the waitress who was rushing to clean up the coffee table, then resting your hands on the polished wood surface. Your hands trembled, your left leg had begun to move nervously up and down and your attempts to stop it seemed useless; even your breath had made itself faster and more accelerated.  

His gaze didn’t move even for a second from you, you felt it penetrated under the skin; almost probing that soul now in complete turmoil.  

“Seokjin..”  

“Can I introduce you to this friend??” He asked with kindness while gentle he placed a hand on yours, narrowed with violence with one another; “I want you to be happy,” he added seriously, squeezing just the grip of his hand.  

-Why don’t I loosen this grip..? Y/N, move your hands.. m-move them. -  

“Why do you say you’re interested, because it was what you said between the lines, but then you’d rather let me know a friend of yours??” You wondered with curiosity, without listening to the logical voice that kept repeating into your head to dissolve that contact between you two.  

“I told you.. I can’t be anything more, though I would.. Jimin is a person I owe a lot to. ”  

“As well as I, though it doesn’t seem.”  

The silence fell among you, he kept to look at you trying not to imagine a possible “future” between you two; you keep observing his hand that almost made disappear your own under his firm grip.  

You didn’t even know what you were feeling at that time, the thought of Jimin came back to hit you despite in those six months you thought of having completely forgotten him. Seokjin in front of you had started to make you feel a warmth in the middle of your chest which was a new feeling as much as familiar. Did you need a third character in that equation almost impossible??  

“A date, are you in??”  

“And if I liked it?” You asked in a whisper, hiding the fear of that possibility.  

“I’ll have to accept that you and I cannot have a future.”  

~ ~

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“they’re all aliens” is such a poor excuse tbh because like…we’re criticizing the writing behind and process of creating said “aliens.”  it’s not like gems and homeworld just spontaneously appeared out of thin air, they were consciously created by human beings. and therefore, they obviously have human influence in them. criticizing the deliberate process of creating these characters doesn’t equate a “callout post” or “ignoring the show’s plot/canon” or anything of the like.

anonymous asked:

So Daenerys has to be portrayed as this powerful, unyielding, fearless robot-like goddess. Nothing fazes her (for more than a moment at least). She gets her ass beaten but she's right back up intent on fighting on. The writers just can't have Daenerys show weakness, be afraid, resigned, tired, overwhelmed, want to run away like they did with Jon in season 6 huh? Of course they can't. How special snowflake of her.

They had Jon down in season 6 and another character had to build him up (a female character because the showrunners need to compensate for the years of having been labelled as misogynists). Is Daenerys so special they can’t have her go through the same? She’s too strong and perfect for that?

Jon selling out his people’s independence (on top of it not even giving them a heads-up first) just because he may personally like the girl is the worst case scenario in this whole thing. It makes him look 1000 x worse than Robb. A King should not act on his personal feelings. If he doesn’t have to do it (Daenerys being already willing to fight WWs) then doing it is unnecessary and purposeless. He’d betray the trust of his Lords for what? He already has her support. It’d happen for no reason.


Anon(s),

I’m going to lump all three of these asks together because I assume they all came from the same person. 

The perimeters of your asks are just littered with these simplistic dichotomies, black and white is the only way you and some others seem to think in terms of. You can’t seem to understand or grasp the complex layers of human emotions. And while I’ll be the first one to complain about D&D’s struggle to show the emotional complexity within Dany, having Dany devastated and inconsolable at the lost of her dragon chid and still wanting to get revenge for his death is still well within her character. 

You can’t equate what Jon went through in season 5/6 with what Dany will presumable will go through in season 7. Jon was betrayed by men who called themselves his brother, by a boy he mentored and acted as a big brother too. Being betrayed by your own people and dying because of that betrayal is obviously life altering. Because the world as you knew it is no more. On the other hand being attacked by an in-human horde of ice zombies who go on to kill one of your children is life altering in a completely different way. Dany wasn’t betrayed by the WW, they did what any enemy does, kill the other side. 

Jon had to be rallied because he didn’t know which side was which anymore. He thought he was on the right side, but the people who were suppose to be on the same side as him betrayed him. Can you understand how that can mess with a person? And of course, that’s not even getting into the fact that he died and came back to life. 

I fully expect Dany to be absolutely devastated and shocked at the death of Viserion. I also expect her to need the love and support of her friends to help her get through this. But I would never expect her to be someone that would give up when attached by an enemy. It’s just not who she is. This isn’t just the show, this is in the books too. The difference is that in the books we can read her thoughts, and while she shows the world a strong and unflappable woman, we know that inside she is riddle with doubt, loneliness, sadness and pain. That’s something that the show has had a hard time in portraying. 

Regarding Jon’s actions, as I said before, I don’t know the events leading up to it, I don’t know what is happening at the time he supposedly makes that decision and I’ll reserve judgement until I see it. But as a king Jon does not need to consult the lords to make a decision that will save a great deal of Northern lives. If the North can’t see that then quite frankly they don’t deserve the protection Jon is brining North. It’s false to compare Jon with Robb, while Robb’s decision weakens the North greatly, by breaking promises and eventually alliances. Jon’s decision creates alliances and strengthens the ability of the North to fight the WW and increases their probability of survival exponentially. 

Also, quit it with the fucking misogynist bullshit, the only one here who is being a misogynist is you. It just eats at you that Jon needed Sansa, his sister,  to help him find a purpose after dying and being brought back to life. And it kills you that Jon needs Dany to help fight the WW. You want Jon to be able to do it all on his own but he can’t, and the fact that he can’t makes him weak in YOUR mind. And you can’t stand that Sansa and Dany are show, in your estimation, to be stronger. Your world view is so warped that men can’t be weak and women can’t be strong. 

Sorry to disappoint you but the she-bosses of Westeros don’t give a fuck about you think. 

TTFN

I’m sorry this is my last piece about this “”“"novel”“”“ but I am fucking CACKLING at Kubo’s brilliant explanation for totally casually changing Rukia’s name to Abarai in the novel from Kuchiki in the manga. It seems Captain Rukia Kuchiki who defeated ‘the fear’ sternritter faints every time someone calls her Abarai? IM LAUGHING SO HARD

Seriously the more I hear about this novel the more alive I feel, how is anyone taking this seriously??? Wow, it’s like someone approached Kubo and his sister in law and were like "alright, make the most ooc mess of a retcon novel and when you directly contradict the manga, use more ooc to explain it away” and they were just like “got u fam we’ll go above and beyond”

Woo boy, I didn’t think I’d feel like this but this novel has provided some hella good laughs. Good thing I don’t consider the novels canon otherwise I’d have to laugh even more at this actually being real lolololol

Starter Masterlist

Under the cut you will find #37 ideas for starters, because I know they can be quite hard to come up with. Some of these are ones that I’ve collected and tended to use over the past years, or stories that have happened to me or my friends, while some are things that I’ve found on the internet. Please like/reblog if this helped you in any way!

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jettsettrolls replied to your post: people are actually thinking h anzo is a precious…

Welcome to, “rolo couldn’t help but murder the shit out of Shirley (a completely innocent bystander) because [was raised that way / she was in the way / etc.] and he’s a poor innocent baby” logic. I’m your host, vii, coming at you all the way from 2011.

This is the second time I’ve been called racist over Hanzo Shimada and I’m so exhausted.