character setup


a set for each inquisition companion ⤔ Dorian Pavus

“You let it keep hurting because you think hurting is who you are. Why would you do that?””

No matter what happens in “Second First Date” we will not: 

  • Tell others to kill themselves
    • This includes the crew
    • And other fans
    • And everybody in general, seriously, why would you tell someone something so terrible?
  • Be mean to each other
    • If it turns out that Enid is bi, don’t go around and mock people who thought she was a lesbian. That’s not nice and it only breeds hostility.
    • On the flip side, don’t be rude to people who are glad that she is bi.


  • Let’s be nice!
  • Let’s be positive!
  • Let’s be heroes!

marvel repeatedly cuts scenes that are vital to steve’s arc on the basis of “time constraints” but yet they’ve found a way to make a trilogy for the hulk within other marvel films okay sure

TFA-Introduced Characters by Screen Time
  1. Rey - 42 min 30 sec
  2. Finn - 30 min
  3. Kylo Ren - 19 min 15 sec
  4. BB-8 - 10 min 15 sec
  5. Poe Dameron - 8 min 45 sec
  6. Maz Kanata - 3 min 30 sec
  7. General Hux - 3 min 15 sec
  8. Snoke - 2 min
  9. Phasma - 1 min 45 sec
  10. Lor San Tekka - 1 min 45 sec


anonymous asked:


okay listen. 


idk if u have seen the first film. 

and u need to watch the first film to understand the second, which is, arguably, the better story of the two.

now, the first film. it’s. its a film, okay. its a movie. its ur typical bad guy is gonna destroy the world protagonists enter in STAGE LEFT & whilst they have a couple bumps at first they TEAM TOGETHER and SAVE THE WORLD bc they are Good Folks despite their questionably legal professions!


like, it’s a decent film. it’s funny, it’s action packed, there’s a lot of heart to the characters. it SETS THE STAGE real well.

but the thing is it leaves u feeling kind of “eh whatever” UNLESS U FOLLOW IT UP WITH THE SECOND MOVIE.

film 1 is genuinely very good for worldbuilding and character setup, and, imo, not that great if you’re looking for a film with powerful emotional heart and a strong narrative message. like dont get me wrong, it’s good. it’s fun, it’s entertaining, and u get some warm fuzzies at the end. it’s originality is decent, considering the inherent originality of the setting of the film, but in terms of “wow, that was so creative, i never saw that coming” content … it’s average. like, “wow, that movie changed my life, i’ve got so much to think about now”, it’s …. okay. like it’s good, but it’s not genius, u know? it ain’t art.

vol.2, on the other hand? KNOCKS THAT STUFF OUT OF THE BALL PARK.

this film is ART.

u got character-centric storytelling. u got powerful narrative metaphors w strong and Good life messages. u got excellent character relationship growth, u got genius in the creativity department, u got originality, u got unique and complex villains, u got some TOP NOTCH JOKES, u got bammin’ slammin’ action sequences, u got GORGEOUS visuals, u got the most incredibly incorporation of song into story that i have EVER SEEN.

and. AND. on top of that, it takes so many of the vague attempts at subversion of Generic Superhero Tropes in film one and REALLY GOES TO TOWN WITH THEM, in that it is one big Think Outside The Box. the whole story subverts, deconstructs, and rebuilds some of the most problematic trends in superhero – or in fact, most generic action-y – storytelling.

PLUS, on top of all that, it explicitly shows characters on screen engaging in some really healthy behaviours. it has three separate female characters with three separate independent arcs, none of whom are sexualized. it allows male characters to be emotional and vulnerable and it delves into complicated heavy issues like breaking the cycle of abuse, or the many insidious layers and effects of toxic masculinity.

the entire story is about deconstructing and subverting toxic masculinity. and it is told so well.

and, on top of all of that Excellent Content, u literally, my friend, feel as though u are immersed in a particularly colourful gotg comic book for 2 and a half hours of your life.

WHAT an icon, tbh 

and so u see, anon, guardians vol.2 takes all the excellent premise content that vol.1 set up – rag tag gang of criminal losers accidentally become a family and save the world bc they’re Good people – and really expands on that beautifully. it takes the universe its built for itself and it tells a genuinely Good and complex and emotional story within that universe, about the characters that it’s set up for itself. 

and it is, truly, in every sense of the word, an ensemble superhero film. every character has their own individual arc, which are simultaneously independent of each other but also strongly interrelated bc the whole point of the story is that they’re a family whom loves each other. EVERYONE has an arc. and they’re all satisfying. they’re all important. they’re all powerful, even if they’re humorous or cute or kind of ridiculous at times.

and then, u know what happens, anon? u know what u get when u have a whole film, a whole 2 hours, that explores its characters in such depth?

u get a whole new perspective on vol.1, on that first, mostly decent generic-ish superhero film, and then u have the TIME OF YOUR LIFE re-watching the first one. bc u are invested in these characters now! u know where they’re going! how much they’re gonna love each other! how much they’ve dealt with in their lives! u have so much emotional context. so that first movie? it becomes important. it becomes relevant and poignant, when juxtaposed to the narrative of the second one, to the arcs in the second one.

truly? truly? what a way to write a story. what a WAY. i wanna do that someday.



u should., ,,,, imho … in my humblest onion ….. Please Watch Guardians of the Galaxy. bc if u havent seen the first one, u cant understand the second one, and personally, i think that guardians of the galaxy volume 2 is genuinely one of the most important films that marvel studios has produced to date.

Orcish Culture

Credit to this whole goddamn thread for giving me the idea, but also because I’ve been on a huge gladiator and wrestling kick I decided to give it my own spin.

Orcs are known for their love of blood sports. But there is more to it than meets the eye: orcish ritual combat is more than simply watching orcs fight to the death for the entertainment of the crowd. It stems from a very important orcish religious tradition.

Orcs have lots of stories about their origins, their gods, and various mythical characters. All of these stories have one thing in common: the ending and the exact details beyond the setup and characters involved always varies from one storyteller to another. This tradition further developed into a method for shamans to divine the will of the gods: since most of these stories involve mortal combat between the characters, what better way to present these stories than to have actors literally act them out?

Orcish blood sports are thus a strange mix of improvisational theater, mortal combat, and pro wrestling. An orcish actor is first and foremost a warrior: inevitably a play is going to lead to combat between the actors. Orcish acting school is a tight regime of improvisation class (”Say yes, and… hit them with an axe.”), battle training, and studying the themes and characters of classic orcish stories.

An orcish play consists simply of a list of characters (including their weapons and fighting styles), the opening narration, and the starting scene. Beyond that the actors are encouraged to make everything up as it goes, each successive performance adding new elements to the play.

There’s a couple of really important rules to it: you never break character. You always accept defeat. While actors are encouraged to show mercy to other actors, sometimes the gods and the crowd simply demand to see blood. The worst thing an actor can do is to break character to beg for mercy.

And now to run a campaign where the characters are a troupe of orcish actors, traveling from fortress to fortress performing various plays…

10 Biggest Mistakes I See in Early Drafts

anonymous asked:

There's one thing I don't understand about the backstory we're given for Dark in WKM. Mark specifically stated that the reason he brought Dark into canon was because he disliked how the fandom was romanticizing the character. And yet, we're given a tragic backstory that contradicts Mark's initial intention of having a character that the fans shouldn't romanticize by giving us material that will lead to some romanticizing Dark. Any thoughts on that?

Mark said last February that he took a step from making fun of Dark (b/c fans were the first to do it- turning him into an ‘emo-vampire roommate’, etc) and Mark wanted to take the concept seriously again, in a way he could/ wanted.

I LOVE villains. I personally dislike sympathetic villains; or someone that we are supposed to fear suddenly getting the pity treatment/ feeling sorry for. 

I loathed that ‘emo-roommate’ phase; you have no idea how excited I was to see Mark bring him back in a serious way again. Now, with WKM, we got to know and even trust the characters, the setup/ background, and circumstances of what we thought was a “murder mystery” plot. The clues and pacing was brilliantly well done; the mystery was awesome. Then, at the end-


Origin story confirmed for the 2 biggest/ oldest egos on Mark’s channel.

And, to me, b/c we got to personally understand this story, emotions, and these characters before it was revealed who they actually were- made it all the more tragic/ heartbreaking; b/c we got into it that much.

Yes, some romanticizing will still occur. But I won’t mind it.

B/c I understand where and why Dark is coming from more than ever before.

anonymous asked:

I never knew that The Eggbaby episode was your favorite Batman Beyond! Can I ask why that is?


Part of it is that I got so much crap over the years for liking “Splicers” as much as I do and it kinda soured that episode for me, but the other is that, for me, “The Eggbaby” was kind of a perfect Terry story. All of the first season and a good amount of the second, a lot of the plot falls in line with Bruce’s personal stakes and relationship development between him and Terry, but the formula of the episodes kind of comes in line with an average Batman: The Animated Series episode, right down to Bruce having the ultimate realization and usually Wayne Enterprises being somehow involved in a major plot element. 

“The Eggbaby”, and “Splicers” for that matter, are stories that could only happen in Terry’s world – this semi-dystopian future, but also from the perspective and world of a teenager most of all. And beyond that, one thing Eggbaby has over other BB episodes you could say the same for is that the tone is just so completely different from the rest of the series. It’s a stand out because it’s all Terry – it’s his humor, his values, his struggles. 

What other Batman character – let alone what other Batman – would be failing Family Studies? What other character showing exactly no paternal instincts would struggle with a ridiculous egg-shaped robot on a mission? And what other Batman would literally stick his tongue out at the villains in complete joy for having saved said ridiculous robot egg from falling off a building. Like who would celebrate that?

So when I say “The Eggbaby” is my favorite episode, I’m saying that it’s the Batman Beyond episode that most separates itself from the previous and later DCAU TV shows and relishes in its individual setup and characters. 

And it’s endlessly quotable. Seriously, every line in it is gold. 

How to Structure your Novel

If you did a quick Google search for different outline structures you’d get over a million results. With so many different outline structures out there it’s safe to say that it can be a bit overwhelming especially if it’s your first time outlining a novel.

The key to finding the perfect outline structure is finding one that fits with your writing style. Us writers tend to have specific ways in which we prep and plan our ideas. You’ll have to be patient and you’ll probably end up switching outlines but if you don’t experiment you won’t be able to find which structure works best for you.

Today I’m going to guide you through the Six Stage Plot Structure by Michael Hauge. It’s the one I’m currently using to outline my current work in progress, Just Breathe. The six stage story structure is based on a three-act structure but each act is divided into two stages giving it the opportunity to go more in-depth.

The first stage is the Setup. This is where you introduce your main character and give us a reason for us to care about your character. After the setup quickly follows the turning point. This is the opportunity where your main character is presented with something that might peak their interest or something out of the ordinary for them. This will create their initial desire (that could eventually change throughout the novel). 

The second stage is the New Situation. This is where your character is meeting new characters and exploring their new world. The turning point is a change in plans. Your main character is presented with new information that might make their initial desire into a goal. This is where your character would develop a clear vision of what that goal is and what they might have to do to get there.

The third stage is the Progress. This is where your character is starting to get comfortable with their new world and feels like their plan is working. The turning point is the point of no return. Now your character must commit to their goals as the challenges that keep getting thrown at them are getting tougher by the second.

The fourth stage is the Higher Stakes. Your character is now fully committed to their goal. The turning point is the major setback that will throw them into a terrible situation and all hope will be lost. Your main character will have no idea what to do with what’s been thrown at them.

The fifth stage is the Final Push where your main character will give everything that they’ve got in them in the most crucial and intense stage of your novel.The final turning point is where your main character finally reaches their goal and all is resolved.

And to finalize the whole structure the six stage is the Aftermath where you show the aftermath of the resolution. This could be your epilogue or the last paragraphs of your final chapter. 

It doesn’t matter which outline structure you follow as long as it works for you. Take the time to experiment which different outline structures and see what works. If you have any questions or want a link to the six stage plot structure send me an ask! Now go outline!

Zwei: The Ilvard Insurrection - Localization Blog #1

Excelsior, true believers! Nick here again, penning these gladsome tidings from my grand scriptorium full of musty scrolls and ancient cartridges. Alas, it’s been quite a while since I checked in with all of you – well over a year, in fact, with the release of the first Trails of Cold Steel. With that giant title now roaming free in the wild like the majestic brachiosaurs in Jurassic Park, you may have wondered what I’ve been working on over the course of the last year. It always seems to unintentionally happen that I get assigned to projects I can’t talk about for significant lengths of time, but this stretch has easily been the longest. So many times I’ve wanted to tell you some quirky story or fun little side-note about this game as I worked through its script, but alas, the official XSEED duct tape was covering my mouth – until very recently, that is.

In our yearly lead-up to the gaming extravaganza that is E3, we finally announced my long-in-coming project: the classic Falcom action RPG Zwei 2, making its debut outside of Japan as Zwei: The Ilvard Insurrection!

Of course, I’ve also helped out with a variety of other, more time-sensitive projects, leading to Zwei taking a bit longer to bring to you than it would have otherwise, but I think we’ve got something you’ll really enjoy in the making here. And conveniently, the benefit of the slow going is that the release isn’t too far off now. As Zwei II enters its final stretch before release, I wanted to tell you more about the game – which is exactly what I’ll do, over the course of the next couple weeks.

Zwei II has an interesting history: released in 2008, it was the very last game Falcom developed exclusively for PC. Back then, the PC gaming market was far from being the robust, thriving scene we know it as today, especially the Japanese market. Thus, the title seemed almost fated to fly under the radar despite its quality craftsmanship and hours of fun. But now, with the worldwide PC game market booming and digital storefronts ensuring copies can get into the hands of anyone who wants to play, it felt like the right time to fill this conspicuous gap in Falcom’s lineage.

“But…what about the first Zwei?” you may be pondering aloud to your monitor. If you’re wondering whether you’ll be at a disadvantage playing the second game in the series before the first, worry not! I’ve played both (thanks to Tom’s Japanese boxed copies) and can confirm that Zwei II gives you all the info you need to understand the world, its plot, and its characters. There was a 7-year gap between the first and second Zwei games in Japan, and Falcom couldn’t assume players would’ve played the earlier entry, so the structure is something more akin to Trails in the Sky versus Trails of Cold Steel, where the games take place in the same world, but in different locations and with different casts. This makes it easy to jump right in.

To start things off, I wanted to sit down and flesh out the game a little for you, since compared to its siblings in the Ys series, and even Xanadu, it’s far less known by fans. What is the Zwei series? What makes it great? How does it play? Why is it cool?

Let’s start from the ground up: the name of the game. “Zwei” is simply the German word for “two” and, as you’ll soon discover, it’s a very fitting title – the game features not one, but two protagonists. Our leads in Zwei II are Ragna Valentine, a lively treasure hunter and pilot-for-hire, and Alwen du Moonbria, a confident vampire princess looking to avenge herself against an unknown enemy. How these two very different people meet and come to really understand (and maybe even appreciate) each other is the relationship that forms the heart of the game, and I’ve done my best to make that journey of growth and understanding a fun and memorable one. And, as with any good RPG, the journey is not without obstacles to overcome. Fortunately, our hero and heroine are up to the task, with Ragna skilled at mixing it up in melee, and Alwen versed in the ways of magic. You can swap between them at any time, and whoever you’re not controlling runs along behind you, ready to leap into the lead role at the press of a button.

Zwei II’s combat is action-based, not unlike the Ys games or Gurumin, but the two-character setup creates an interesting dynamic in combat. Over the course of the game, Ragna will be able to upgrade his weapon, the half chain-whip/half katar Anchor Gear, into several different forms, and Alwen (who begins the game bereft of most of her magic) will regain her powerful spells. You end up being able to do some interesting things, like using a claw-variant of Ragna’s Anchor Gear to grab an enemy, then throw it into another enemy, knocking both into a corner, then swapping to Alwen and unloading a fiery salvo on them. Or have Alwen cast her whirlwind magic to sweep up a couple enemies and keep them stun-locked, then swap to Ragna to leap into the air and string together a midair combo on them. In many dungeons, I often found myself favoring one or the other to take the lead because of the strategies I came up with to best deal with certain types of enemies, and you’ll likely fall into styles of play that fit the way you prefer to approach the game’s combat as well.

And speaking of approaches to combat, Zwei II has a rather unique leveling system, too. In the game, you don’t earn EXP from quests, or from beating up monsters. You actually earn it by eating food – the same food you use to heal yourself when you’re running low on HP. There’s even a “food exchange” service available at the restaurant in the main village of Artte that lets you trade 10 of any one type of food for one of another type that gives more EXP than the ten individual pieces of food would have if eaten on their own (example: trade 10 cheeses worth 10 EXP each for a single pizza worth 150 EXP). Will you chow down now, or hoard in the hopes of cashing in for savory plates of EXP-rich cuisine? You decide! It probably sounds weird (it certainly did to me when I first learned about it), but in practice, it actually works really well. It frees you up from having to grind in dungeons, or feel like you absolutely MUST kill every enemy on the way to your destination. It also gives you a lot of control over your own challenge level. When I was playing the Japanese version of the game, my loose rule was that I’d never eat food just to level – I’d just use it when I was hurt, to restore HP. I ended up going through most of the game under-leveled because of this, but never TOO under-leveled, because the more under-leveled I was, the more damage I’d take, thus getting infusions of EXP more frequently from using food to heal myself. There’s a strange sort of balance to it, and the game isn’t stingy about giving you food in chests, as drops from enemies, and even from giant slot machines you’ll find in each dungeon, so you can decide whether you want to blow through the game as a force of nature but with less on-demand healing available, or a bit underpowered but with a fully-stocked pantry.

If that talk of slot machines that dispense food or trading wedges of cheese for a pizza sounds a little…weird, that’s by design. More than any Falcom game I can think of, the Zwei series embraces its sense of humor, poking in good-spirited fun at its two main characters, the townspeople, and even many of the foes you face down along the way. It’s got a lively, colorful, and cartoonish art style that has helped the graphics hold up well, too. You probably know from personal experience that stories more focused on being comedic sometimes run the risk of not being able to successfully shift into a more serious mode when the story calls for it, but thankfully, Zwei II doesn’t suffer from this issue. It’s surprisingly adept at conveying a serious atmosphere when the story calls for it, making for some excellent dramatic moments, and even a dab of pathos here and there. But on the whole, Zwei II is a game that feels deeply informed by 90s anime and manga, with all the oddness and charm that comes with that. I can certainly say that being rooted in that style proved fertile ground for my work to help the game achieve its comedic potential (speaking as a weeb from ancient times), and I’m already planning my next blog post to focus on some of the details of the writing and the characters.

One thing I love about Zwei II is that it reaches out and really grabs you from the start. In just the first 20-30 minutes, you get the following ace setup (obviously, skip these next two paragraphs if you want to go in totally blind):

The game begins in the skies, as courier pilot Ragna Valentine is cruising in his cool red biplane, the Tristan, toward the island of Ilvard on a routine delivery mission. Suddenly, he’s ambushed by unknown assailants, and after a dogfight against a pair of dragon-riders in the skies over Ilvard, his plane takes a bad hit and plummets toward the land below. The next thing he knows, he wakes up in a bed in the nearby town of Artte as the town doctor marvels at how he came out of such a crushing impact with barely a scratch. After all, his plane didn’t fare nearly as well. Going out to investigate the crash site, Ragna finds his plane on a hill on the outskirts of town, busted up and snapped in half just as the doctor said. So how did he even survive such a nasty crash?

Well…he almost didn’t. After that crash, as he lay among the wreckage, broken of body and bleeding out, he was rescued from his mortal fate by none other than Princess Alwen du Moonbria. Alwen isn’t your ordinary RPG princess, though: she’s a sharp-tongued shut-in vampire princess. Not too long before the start of the story, Alwen’s castle was invaded by a mysterious foe who ultimately seized the stronghold and gave her the boot, after stripping her of her ancestral magic. Seeing the outsider Ragna as her best bet to help her search for her magic and retake her castle, she takes some of his blood and gives him some of hers, sealing a pact that turns him into her ‘Blood Knight’ – a warrior in thrall to a powerful Trueblood vampire whose physical abilities and regenerative capacity far exceed what humans are capable of. But Ragna, see, is all about freedom and doing things his way, and he hates the idea of working as anyone’s lackey. After realizing the situation he’s in, though, he strikes a deal with Alwen: he’ll help her get her castle back as thanks for saving his life…but instead of being master and servant, they’ll do it as equals.

And so, our story begins.

Cool, right? And that all happens in fairly short order – no longwinded tutorials, no hours of quests before the gears really start to spin. Zwei II has a lot of heart and a lot of dialogue, and to its credit, it seldom feels like it drags. The story starts with a bang and keeps things moving at a good clip.

That’s not to say there isn’t plenty to do, though. The island of Ilvard is dotted with thriving communities and, in the fashion of the Trails or Ys games, they’re populated with fleshed-out NPCs who have their own small story arcs and conflicts to overcome over the course of the game, with dialogue that changes frequently after progressing the main story. Some of the residents are funny, some are petulant, and some are just downright strange, so I hope you enjoy getting to know all of them over the many times you’ll visit the towns. You might even stumble upon unique scenes, a secret hint, or a good ol’ fashioned RPG quest (you know, the kind from back before there were convenient quest logs to keep track of things). And of course, what with Zwei II being focused on Ragna and Alwen as dual protagonists, they’ll often have unique things to say in response to other characters depending on whom you’ve got in the lead.

In the course of working on the game’s script, I observed with no small amount of fascination that in some ways, it almost seems like Zwei II was made more with Westerners in mind than the Japanese market. Ragna himself is an incredibly un-Japanese character, with his bravado, easygoing swagger, and sass, but he’s a character that I know will click instantly with the North American audience in particular. We see Ragnas in our books and films; we all probably know someone like him, or who has elements of his personality. Alwen, too, is a character I think will be well-liked by the West. Not content to lament the loss of her home or sit idly by, she picks herself up and decides to get even and take back everything that was taken from her even though it promises to be an uphill battle. The core of her personality is her self-assured nature – even when confronting a world she’s mainly just read about (in books that were, sadly, out of date on the latest trends and customs). Quick-witted and keen, she matches Ragna tit-for-tat, helping the two play well off each other. Beyond just them, there’s the wild west-flavored bounty hunter Odessa, chain-smoking nun Isabella, the worldly jazz pianist Shester, dependable engineer Miriam, and of course, the irrepressible luchador-masked man of mystery, Gallandeau, among many others. Having a zany cast of characters like this all together in one place feels like the kind of storytelling we enjoy so much in Japanese games. But at the same time, after seeing so many forgettably milquetoast light novel-style characters in the games and anime of recent years, it’s refreshing to come upon a game where the characters have an abundance of personality – where I know they’ll resonate with the audience I’m localizing the game for.

So…there you go. In a nutshell, this and more is what you have to look forward to when Zwei: The Ilvard Insurrection finally makes its debut. Like a time capsule laden with the charms of a bygone era of RPGs, I think it’ll prove its worth to you as more than simply a pleasant surprise – I think it has the merit to stand proudly as one of Falcom’s finest.

anonymous asked:

As I recall there was commentary to the effect of revisiting the Burning the Candke scene. How do you expect that to work out if you think a repeat is still in the works?

yeah, specifically, Monty said “we’re going to have to use this again”, and seemed to be suggesting the sort of set-up; two characters who are close, having an intimate moment because one is trying to show the other that they understand what they’re going through and trying to get through to them - this was said alongside commentary about how symbolic Yang and Blake’s dynamic is, how Blake is sunnier for having been around Yang, etc.

i think in revisiting it, it’d be a similar setup, two characters in an intimate setting, one trying to get through to the other who is hurting and isolating themselves, but with the roles switched; Blake trying to show Yang she understands what she’s going through (and given there’s a lot of plot threads surrounding Yang waiting in and around Mistral…) and opening up to her to try and get through to her, is definitely a potential option

anonymous asked:

Could you pls write about the first time Petyr talked with Sansa in the tournament, show or book, thanks!

With pleasure, anon. Let’s do both.

I love 1st meetings and how they “audition” characters in specific relationship setups. In this case both book & show do an a+ job of establishing what we can expect from the PxS dynamic further down the line. Both run with the same basic theme of unsettling intrusion, but there are, of course, differences, too.

The book gives us a brief, quiet but intense moment where silver is the dominant color. It’s there in the moonlight, in Petyr’s hair, in his mockingbird pin, and in his grey-green gaze which is fixed on Sansa. Petyr is associated with silver. Similarly to the color, his presence, too, pervades this scene as he rapidly engages 4 out of 5 senses:

  • sight (“He was short, with a pointed beard and a silver streak in his hair, almost as old as her father.”)
  • hearing (“You must be one of her daughters,” he said to her.)
  • smell (“His breath smelled of mint.”)
  • touch (“His fingers brushed against her cheek as he stroke one auburn lock.”)
  • (taste will join in soon enough but not just yet)

Both are transfixed by appearances - Sansa by the perfect knight and Petyr by “the Tully look” -, and these “fantasy trances” are colored by chivalric romance (”Your mother was my queen of beauty once.”). It’s the surface they take note of first when they look at each other, too, but Sansa already picks up on the tension between Petyr’s appearance and what’s beneath, signaling that her naiveté doesn’t equal being stupid at all. What exactly Petyr thinks we will never know for sure, but I suspect his thinking process temporarily breaks down when he spots her, which brings me to my next observation, i.e. they both disrupt the other’s “default setting”: Petyr “effortlessly” pulls her out of her foolish daydreaming that instantly puts her “ill at ease”, and she just as easily yanks his “smooth operator” card, rendering him quiet, vulnerable, and abrupt. Both come away from this odd encounter a bit off balance, and this gives us a taste of what’s to develop between them later on: an obsessive, irregular dance characterized by a constant push-and-pull of hazards and dependency.

The show has to condense and filter the source material, so we get more in their first scene but also less.

For one, the atmosphere feels somewhat less intimate than in the book (imo). It’s daytime (I suppose it films better), Petyr doesn’t reach out to stroke her hair, he is much more talkative, and so his core fixation is (for now) downplayed (”I’ve known your mother a long, long time.” vs “She was my queen of beauty once.”). The power of Sansa’s proximity is not as pronounced/explicit yet, “only” hinted via Petyr’s body language (since he can’t seem to detach himself from her).

It is more because the scene runs on much longer, and we can already see him act as her guide, answering her questions, explaining things and divulging a disturbing secret. It is more because they get to watch a young knight bleed to death, and Petyr’s follow-up remark (“Not what you were expecting?”) nicely hints at the role he will soon take on full-time in her story: the initiator and death-bringer who helps “adjust” her grossly romanticized/incomplete worldview. His tone is sympathetic but he also watches her reaction hungrily, enjoying it, which reflects the fundamental behavioral ambiguity he will carry later on as a companion or “fellow traveler” w/ warped, predatory qualities.

Aside from the detracting and adding, the show thankfully keeps his unsettling intruder effect intact both on a verbal and visual level:

  • his first words to her “Lovers’ quarrel?” as Sansa keeps fixating on Joffrey instantly mark him as a shameless intruder, appearing out of nowhere, prying into private business which, similarly to the book scene, results in her focus being (temporarily) yanked off a fantasy image
  • while not reaching out, Petyr still presses himself up to Sansa’s side and leans in close for good measure while whispering sweet nothings (i.e. twisted tales) into her ear, already bestowing an indirect, intimate lesson concerning the paradoxical power of knowledge: it gives you an edge over others but it often serves you best if they think you clueless.

So just like the book, the show also uses their first meeting to give us the broad stokes, establishing Petyr as a dark mentor who has 0 respect for any kind of boundary and Sansa as a seemingly passive student who is, in fact, all ears whenever he opens his mouth.

i’m assuming my character is writing this in his journal and seriously dude “one of us” just write that it was you omg stop trying to pretend that it wasn’t all your idea k

komed  asked:

Mr. Lovhaug/Linkara, you once did mini-opinions on each episode of Series 8 of Doctor Who. Since you have finished the Series 10, would you mind posting your opinion on each episodes?

The Pilot: Good introduction to Bill, but as a complete story it feels… off, particularly because there is no real resolution to the Pilot and its idea. Also continues Moffat’s tradition of throwing in a popular monster for no real reason, but props for inclusion of the Movellans.

Smile: Okay outing, but one of those situations where future tech is based on current tech/trend (Emoticons/Smilies in this case) and it is always silly to me when that happens. Sudden anti-war/battle thing at the end? Weird, but yeah, not a bad episode at all.

Thin Ice: Thin story, more like, but not bad. Basically one of the problems with a lot of stories during the Moffat era is a lack of character development for the secondary characters of the story, as is the case with both the villain and the thieves. Although this one is at least better than a lot in that the Doctor provides for them after he leaves.

Knock Knock: Favorite episode of the season. I love haunted house stories and this one is nicely creepy. The explanation for the shenanigans is good and the makeup on the “monster” deserves an award.

Oxygen: Great story! Capitalism taken to its extreme like this is always neat to see, plus a good, clever way to resolve the situation. The brief storyline with the Doctor’s blindness introduced here is a good idea.

Extremis: Good beginning to the three-parter! The revelation of what was going on was fantastic… although I’m iffy about the inclusion of the Pope and whatnot, especially bringing them around in the TARDIS. I don’t know, just felt kind of like an attempt to show off how cool the Doctor is - even the Pope needs to go to him for help! Seemed a bit over the top.

The Pyramid at the End of the World: I’m glad that Moffat remembered one of his old plot points, in this case the “Doctor is the President of the World” thing introduced a few seasons ago… but the problem is that that particular plot point is kind of silly and lame - once again, the Doctor is the coolest, most important super-awesome person in the room and everyone must acknowledge that blah blah that Hbomberguy talked about in his Sherlock video. That being said, a lot of props for the clever way in which disaster will occur on the planet, but what’s more that the way the Monks take over - with love rather than fear - is an interesting approach that is appreciated. The title is also rather irrelevant, since the pyramid itself is not that important in the grand scheme of things. Hell, you could have called this one “Countdown” or “Love the Monks” and it would have made more sense.

The Lie of the Land: After all that build up and the fascinating, interesting, somewhat original concepts with the Monks in the previous two episodes… this is a major letdown. It’s just a generic “Aliens have conquered earth” situation and the resolution is both pat and yet another “love conquers all” thing. It’s trite and disappointing after the last two parts.

Empress of Mars: Feels like an RTD-era episode and I mean that in a good way. While I have no particular fondness for the Ice Warriors, it’s good to see them again and this is the first in a while where it feels like we have proper secondary characters. The setup for the two Peladon episodes of the third Doctor is nicely handled and it’s just a solid outing.

The Eaters of Light: Again, another RTD-era feeling episode and a good one at that. A lot more secondary characters and they definitely feel better than what we’ve gotten. The plot is simple and more classic-style Doctor Who of the Doctor and the Companion going off to do their own separate stories that eventually intersect and lead to a good resolution.

World Enough and Time: One of the more annoying things about the modern era is spoilers. And I don’t just mean people spoiling, which sucks enough as it is… but the two major revelations of this episode were spoiled BY THE SHOW ITSELF, both because of press releases ANNOUNCING it and because of the Next Time trailers revealing them. Narratively, the episodes are structured so that these revelations within them are major twists. However, because of the show ITSELF giving these things away, they are not twists - we know already what’s happening and thus it becomes padding to get to that point. It’s like when in classic who there would be “_______ of the Daleks” titles for episodes - you can’t really pretend then that the Daleks appearing is that big of a deal or shocking twist because YOU ALREADY PUT THEIR NAME IN THE TITLE. I called the disguise element almost immediately because I knew the spoilered return. It was easy enough to figure out what the actual situation was with Operation Exile because of that same spoiler. They would have had a larger impact had I not been spoiled with this information. That being said, the episode itself WAS still good, creepy, and played with sci-fi concepts nicely.

The Doctor Falls: Unlike the last two Capaldi finales, this one is MUCH better. It actually delivers on the promises of the previous episode, has lots of interesting character interactions, and lots of great lines and moments. The Doctor actually DOES stuff. It is by no means perfect - I dislike that only new-who versions of the Monsters were seen (aside from the original versions), but it’s understandable why they did that. Bill’s resolution wasn’t too terrible, even though the setup from the Pilot is still… ehhh. But whatever, just glad Bill wasn’t the super-duper-most-important-person-in-the-universe AGAIN and I’m glad she’ll be back for the Christmas Special even if she won’t be back for the next season. Overall great stuff and improves on a lot of the problems of the last two finales, probably because it’s BASICALLY a do-over of those last two finales.