depower

masterofenthropy  asked:

Hi HeyWriters! I was wondering: do you have a tip to create a weak point on main characters? I´m making a story, but I´m having trouble since my main character is TOO overpowered. Could you help me with this?

(All of this is written under the assumption your character has superpowers or “special” abilities, so forgive me if you meant a different kind of power.)

I created a character concept when I was twelve. She had all the superpowers of my favorite heroes and then some. As time wore on she gained more and more until eventually my adolescent brain invented logic and realized she was actually ridiculous. Here’s how I depowered this character, who’s name is Ace, without completely ruining her coolness.

Step One:

Don’t be greedy. Any ability that does not contribute to the story needs to go. It’s taking up space that could be filled with credibility. I decided early on that Ace didn’t need most of her abilities, and by the end of the story she only relies on a few to get the job done. Also, if a character can do more than one thing that are all basically the same thing some of those should probably go (invisibility and camouflage, superspeed and teleportation, etc.). 

Step Two:

Apply real-world science. If you try to make your depiction realistic, you’ll want to have an idea of how these abilities might work and how they might not. Of course, you should suspend disbelief for some things if they’re truly essential to your character, but others can be adapted. For Ace there are some powers that only work under the right circumstances, and others that her body rejects or that give her physical pain when she uses them. Most importantly, special strengths come with special weaknesses. Sensitive hearing means loud noises are more jarring or harmful, regeneration means metabolism speeds up and the person needs to eat as much as a body builder. Any superpower you pick out will have a drawback, I guarantee it; if not a physical one than a social one (I’ll get to that).

This scene from The Incredibles is an excellent demonstration of superpower drawbacks.

Step Three: 

Consider how the character feels about all this power and why they obtained it in the first place. Ace was not born with abilities, but over time she chose certain powers for the purpose of defending herself or others. Some of her powers fade away when she stops using them, like any skill you fail to practice, and some abilities she just plain old refuses to use for personal reasons. Some are too difficult or time-consuming for her to master, and some even trigger memories of her traumatic past thus she discards them. This way she has a choice in the matter and her choice is not to bite off more than she can chew or what she doesn’t want in the first place. 

Step Four:

How do other characters feel about all this power? Perhaps some or all of your character’s powers intimidate, frighten, or anger others in the story. One of Ace’s friends dislikes how unstoppable she is, and others are taken aback by some of the things she can do or how she looks when she does them. On the whole, she hides what she can do or picks small things to do instead of big things, downplaying her own power when necessary. How your supporting characters react to the force of nature that is your MC is the most important aspect of her power.

Here’s an example from the X-Men of how other characters might react. 

For additional opinions and advice, read this https://mythcreants.com/blog/five-characters-that-are-too-powerful/ and take to heart its ending line: “There’s only one fix that avoids all the pitfalls of overpowered heroes: refrain from making them really powerful in the first place.”

Yes, Ace is a flawed concept and all the advice I just gave is only a patch kit for that flaw. However, overpowered characters continue to excite readers and viewers alike, so I would never suggest we dispense with them altogether. Just, when you’re getting a headache from how overwhelming your character is, it’s good to consider dialling it all back and focusing on the power of their personality instead.

—————————————————-

Super apologize for taking so long to respond, and thanks for asking in the first place.

Thor’s got the power

Spoilers for Thor: Ragnarok below!

Of course one of the things that just make me so gd ecstatic about Ragnarok is that we finally got to see Thor and the level of power he really possesses. I still don’t think we’ve seen what he can fully unleash yet, but Ragnarok was a breath of fresh air because I feel as if they severely depowered him in the past movies.

This panel pretty much sums up my feelings about his situation for the past movies:

You want some ice for that, Tony?

Thor 1 made sense with his powers not being as formative looking because he spent over half the movie without them. In Avengers we saw his strength and his power, but it wasn’t anything that we were presented with as being overly different or magnificent. We see him light shit up and fight like a badass, but I still think that the MCU didn’t really tap into what made Thor Thor. Whether this was intended because he was holding back or not isn’t too clear, but still, I was left wanting.

Dark World and Ultron showed us some more of his powers to affect the elements and use them to his advantage. Also, we how much he could endure in a fight without him getting too beat up. But still, it felt like they didn’t give him his due.

Mjolnir has always been such a prominent weapon, fixture, and symbol for Thor that you literally cannot picture him without it. The immediate knee-jerk reaction is that Thor without Mjolnir isn’t as powerful or deadly. Even Thor thinks that because it’s what he was presented with as a youth. Almost as if it were a crutch. Mjolnir was a very powerful weapon, but in the end, Mjolnir was only as powerful as Thor. Odin even said that it was there to help focus the power he already had and that Mjolnir wasn’t source of how powerful Thor could be. He’s not the god of hammers, he’s the god of thunder.

I love Mjolnir. I feel like they were a character on its own and they will be missed. Korg put it so nicely: 

Sounds like you had a pretty special and intimate relationship with this hammer and you losing it was almost comparable to losing a loved one.

That’s a nice way of putting it.

That is perfect because to Thor Mjolnir was a part of him and seeing that part of him destroyed is no minor thing. He’s lost his father, found out that his sister is a maniac that just wants to rule and kill everything, and had Mjolnir bite the dust all within a literal 10 minute period. Seriously if that were me I’d be a mess, but hey, this is Thor and he can compartmentalize like a champ.

While I’ll miss Mjolnir very much, the destruction of them was very necessary for Thor to grow as a character and fighter. It gave the audience who may not be as familiar with Thor as we diehards are a good look as to how powerful he really is. He is the weapon. He is the one that would ultimately cause the destruction of his enemies, not Mjolnir.

I’m happy that Ragnarok showed us what Thor could be without Mjolnir same as in Iron Man 3 we saw what Tony could do without his suits. These guys are far, far more than their tech and their weapons. It showed us they can be equally badass without.

Then there’s his fight with Hulk. There’s always debate about who is stronger and who would win, but Thor was created to be stronger than Hulk.

Of course, it varies with writers through the comics, but he was originally created to be stronger, so he’s stronger than Hulk and no one can tell me differently.

We saw in Avengers how well matched he was with Hulk, but there was no clear winner because things were all over the place in regards to what was going on.

This is why I love the gladiator arena fight so much because you see both Thor and Hulk just absolutely throw down and not hold back. You see Thor throw Hulk and just send him flying around half the damn arena. Thor gets absolutely pummeled in the face repeatedly and he barely has a scratch on him. This is how powerful and indestructible he really is. He is in no way a lightweight in the MCU and can go toe to toe with the best. 

I fully believe that had the fight been seen through that Thor would have won. I think Grandmaster realized this, especially as Thor was connecting to his powers deeper down. Hulk would lose so Grandmaster did what he had to and took Thor out of the game. While I would have liked to have seen Thor win, I thought that this was kind of a clever way to have it as so there was no clear winner. Everyone kinda leaves happy.

Then, of course, there’s The Scene™. The Scene to end all scenes and my life. We see a fully powered up Thor that absolutely deals out destruction and doesn’t take names. This is Thor THE God of Thunder. This is the Thor that hasn’t been given to us before. This is the Thor that finally understands the depth and reach of his powers and that it’s him and nothing else doing this. This is him unleashing the thunder and lightening to end all thunder and lightening.

This

is the

Thor

I have 

been dreaming of

I literally cannot thank Taika Waititi and Ragnarok enough for this. I hope that he just grows more powerful and we see more epic shit like this in Infinity War.

Definitely don’t imagine a depowered, almost-human Gabriel, pretending to be fast asleep in the back seat of the Impala in the hopes that Sam will carry him into the Bunker.

Definitely don’t imagine Sam knowing that Gabriel isn’t really asleep, but carrying him in anyway.

Don’t imagine Sam cradling Gabriel to his chest and then laying him carefully down, smoothing the hair off his forehead tenderly.

Don’t.

✮ Saigenos Week 2017 Prompt List

Hello everyone and welcome back for Year Two! We’re pleased to announce that this year’s Saigenos Week event will take place on the same dates as last year’s (March 20th—March 26th). Here’s our prompt list! °˖✧◝(⁰▿⁰)◜✧˖°

Day 1, March 20:

  • OST (General): Strength
  • Saitama Prompt: “Until I taste the dirt of defeat someday”
  • Genos (AU Prompt): No Powers AU [ depowered AU, human AU, etc ]

Day 2, March 21:

  • OST (General): Dark Energy
  • Saitama Prompt: “I once was weak but now I’ve grown”
  • Genos (AU Prompt): Villain AU or Horror AU

Day 3, March 22:

  • OST (General): Sadness (Hurt/Comfort)
  • Saitama Prompt: “The tallest mountain started as a stone”
  • Genos (AU Prompt): High School or College AU

Day 4, March 23:

  • OST (General): Mystery
  • Saitama Prompt: “I don’t want voices praising me or an ovation”
  • Genos (AU Prompt): Performer AU [ actor, musician, etc ]  

Day 5, March 24:

  • OST (General): Peaceful Days
  • Saitama Prompt: “I picture the future in my heart”
  • Genos (AU Prompt): Domesticity/Domestic AU

Day 6, March 25:

  • OST (General): Hero Society
  • Saitama Prompt: “Push on, prepare, fight fair and square”
  • Genos (AU Prompt): Reverse AU [ age swap, personality swap, cyborg/human swap, etc ]

Day 7, March 26:

  • OST (General): Battle
  • Saitama: “Killshot!”
  • Genos (AU Prompt): Western/Cowboy AU or Assassin/Spy AU

Here’s how it works:

Each day will have three prompts: an OST (a general prompt word or idea based on the titles of songs from the One Punch Man Original Soundtrack), a Saitama (a prompt based on the One Punch Man opening song lyrics), and a Genos (an AU prompt). You can combine them or choose the one you prefer! You can make as many submissions as you would like on any given day and interpret the prompts however you choose.

Please check out our FAQ page for examples of some prompts, and our guidelines page for how your submissions should be formatted. You can also view the prompts list in our prompts page and our mobile prompts page.

If you have any questions please don’t hesitate to send us an ask.

We look forward to seeing what everyone will come up with this year! :D

SIT THE FUCK DOWN BECAUSE I’M GONNA TELL YOU ABOUT DAVID ALLEYNE


Have you heard of him? Probably not, but I’m gonna give you fuckers a crash course on this sexy ass motherfucker real quick.

David was always pretty damn smart as a kid (like you probably when you were reading on a college level in elementary school or some shit), but when his mutation got kick started, HE GOT SMART AS HELL. AS IN HE WAS ABSORBING PEOPLE’S KNOWLEDGE RIGHT OUT OF THEIR FRIGGIN HEADS. HE GOT TO THE X INSTITUTE AND THEY GAVE HIM THE CODE NAME PRODIGY BECAUSE HE’S A FUCKING BAMF.

SO, instead of being all cocky and douchey like I’m pretty sure I would be if I had just become a human search engine, HE WANTS TO MAKE SURE THAT HIS KNOWLEDGE IS LEGIT AND BECOMES A GENIUS IN HIS OWN RIGHT.

Flash forward and he’s been a member of the The New X-Men, the New Mutants, AND THE FUCKING YOUNG AVENGERS. He even got depowered by the Scarlet Witch on M-Day and still managed to be a fucking bad ass because realized that he could keep all the knowledge that he had absorbed and has a fucking SUPER BRAIN like PROFESSOR X AND THE BEAST.

Oh yeah, did I forget? HE’S OPENLY BISEXUAL. THAT’S RIGHT. EAT YOUR HEART OUT, FOLKS, AN OPENLY BISEXUAL BLACK MUTANT (he did kiss Hulking, though, scandalous)!

IN CONCLUSION, if you want a sexy, smart, bisexual, genius mutant to follow in Marvel comics, LOOK NO FURTHER BECAUSE THIS GUY IS ALL YOU NEED.

I wish that Rick became a mentor-like figure for teen superheroes, especially for the Young Avengers and Avengers Academy kids. I know that he’d probably be as useful as paperweight given that he doesn’t have any superpowers, and that idea would probably be ripping off Young Justice (i.e. Snapper Carr), but it could work! 

Just imagine him telling them stories about his adventures with the Hulk and ROM, and the whole Kree-Skrull War. Or teaching combat acrobatics like Captain America did when he was around their age and everything related to the superhero community - history, powers, strengths, weaknesses, rogue gallery, trivia facts not found on the Wikipedia page. Or form a support group for teen heroes who are orphaned, neglected, or abused, kinda like what he did briefly with The Loners in The Runaways before Marvel dropped the series.

tl;dr 
“So much wasted potential” should be Marvel’s new slogan.

Falling - tinywatermelon

Word Count: 3, 357 (and counting)

Summary: Supergirl often flies to clear her mind. But she suddenly loses her powers and falls. Lena finds her hurt in the woods near her cabin.

Lena has a crush on Kara, but begins to form a crush on Supergirl after they spend time with each other at her cabin. Kara and Supergirl are equally amazing.

- Fear not, Lena will find out about who Supergirl is, and it’s amazing.

So Enzo died.

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

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

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

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

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

2


The original Excalibur team will reunite in X-Men Gold Annual #1!

Excalibur was created by alan Davis and longtime X-Men writer Chris Claremont. The team first appeared in Excalibur Special Edition in 1987.

Excalibur was formed by Kitty Pryde, Nightcrawler, and Prestige (then operating under the Phoenix codename) at a time when they believed the other X-Men to be dead. Kitty and Nightcrawler had been recovering from injuries on Muir Island and joined up with British superhero Captian Britain and the changeling Meggan to form a new team based in the United Kingdom.

The original Excalibur ongoing series concluded after 125 issues (1988-1998), at which point Kitty and Nightcrawler rejoined the other X-Men in the United States, who were very much alive after all, and Meggan and Captain Britain, who was depowered at the time, were married.


X-MEN GOLD ANNUAL #1
Written by MARC GUGGENHEIM & LEAH WILLIAMS
Art by ALITHA E. MARTINEZ
Cover by ALAN DAVIS

Making Adventures More Hair Raising

Hi, folks. My Lovecraft LARP is this weekend, so here’s anther old advice article. Enjoy!

My latest D&D game ended with the defeat of Auntie Mengybone, the Elite Briar Hag that has been causing the PCs trouble for a while now. One of my players looked down at the carnage on the map. “That was really touch and go for a while there. I honestly wondered if we were going to win.”

In truth, so did I. Or at least, that was my worry the week prior.
The truth is, my players seem to think I have an uncanny ability to judge exactly how much they can take to make it seem like all is lost…but not so much as to overwhelm them completely. And I have some skill in that direction, it’s true, but part of it is that I’ve learned when to adjust my plans, when to insert a secret bonus, and when to make a monster do something stupid. And I’d like to share what I’ve learned with you. Hopefully, it’ll help you make the battles in your games seem that much more intense…the kind of battles that players feel like they succeeded by the skin of their teeth.

Careful Planning

It’s not shocking that the first thing I do when planning out an adventure is to look at the battles I expect to take place. While my games aren’t inherently battle-oriented, battles add tension and drama to an adventure, and they give the players a chance to show off their tactical skills. Let’s face it…when they’re exciting, battles are fun, so they get a lot of my attention as I plan an adventure.

As I’ve said in previous articles, I take the basic encounter concepts of 4E, try to make sure there’s an interesting twist or mechanic in any given battle, and pick monsters I think will be fun and interesting to fight. Once I have that framework, I might think about which monsters might go after specific characters, or special actions they might take. Will a goblin guard break from the battle to sound an alarm? Since the owlbear has so many dang hit points, will I let it run around in something of a frenzy, provoking attacks of opportunity (and giving PCs with special powers triggered by that a chance to use them?) Are there any dialogue bits or character quirks I might want to bring in? I jot some notes as I plan.

But I also prepare to throw it all out the window. As much as I want battles to be exciting and interesting, I also want them to further my storyline. I’m not a fan of battles as filler. I want them to tell the PCs something about my world, or move the story forward. And if abandoning a concept I had seems like it will further those ends, then I’m prepared to do it. I can always use the idea in another storyline down the road. The key to keeping things going is a level of flexibility.

Upping the Ante

Sometimes, as a story progresses, I find that the players are cake-walking through what I thought would be difficult encounters. Maybe I misjudged how effective their attacks would be, or how well they’d work together in a given encounter, or maybe the dice just fall a certain way.

Well, the nice thing about playing a game with a human gamemaster (as opposed to a computer) is that a gamemaster can make adjustments on the fly, deciding to change the difficulty of the situation. This can really mean the difference between a fight being memorable and being just another notch in the players’ belts.

One of the saddest things that’s ever happened in my game is when the Colossal Red Dragon I threw at my players towards the end of my 3.5 game was taken out in round 3 of a fight by a cleric with the Implosion spell and the roll of a 1 on its saving throw. Kind of sucked the challenge out of that fight, I can tell you. Thankfully, 4E doesn’t have the sort of “instant kill” attacks that earlier editions had, but it’s still sad to watch a monster meant to inspire fear and awe going down in a blaze of attacks.

Now, I don’t like to fudge dice that much. I might, however, occasionally give a monster a “nudge”. Are all their attacks hitting my ogre nightstalker? Well, when he gets bloodied, I might give his defenses a boost. My players know some monsters have special effects when they become bloodied, so this isn’t much of a stretch. It doesn’t break the game, but it keeps an important monster in the fight longer and gives them (and the players) a chance to show off all those nifty abilities they have.

Other on-the-fly adjustments I’ve made have included bringing in reinforcements, either more of the same coming in from open corridors, or even “summoned creatures” or “raised undead”. This works best if you have something set up in your notes, like giving a necromancer an ability as a standard action to create undead. That way, if you never need it, you can ignore it, but if you do need it, you can bring it into play.

It’s important to note that, whenever I do put in something like this, I give the players a way to take it away. If the necromancer is summoning undead every round, and the PCs kill the necromancer, then no more undead come into play. Auntie Mengybone had a way to heal herself through power she was stealing from her captive Archfey. Once the players realized this, they split their energies between fighting her and running a skill challenge to free the Archfey. Once the Archfey was free, they were able to quickly turn the tide of battle and overcome their foe. But until they did, it was, as previously mentioned, rather touch and go.

Toning It Down

Sometimes, despite good planning, good resource management, and good playing, fate just seems to want to kick your adventuring party where it counts. Most commonly, the dice fall the wrong way, and things just generally go wrong.

In instances like this, I’ll look for ways to help the party along. Maybe I’ll decide not to roll to recharge a specific power this particular round. Or maybe I let the monsters get a little cocky. They’re winning, aren’t they? Why not ignore the paladin’s mark? They have hit points to spare, and they can strut the fact that they can take it.

If I had reinforcements planned, maybe I’ll decide not to bring them in, or maybe I’ll make it easy for the party to prevent it from happening. Maybe the necromancer needs to make an Arcana check to summon those undead, and the party’s warlock can make an arcana check to counter-magic it.

Sometimes, you realize that it’s not the players or the dice causing the problem…it’s you. I recently realized that, although I’d converted some monsters from elites to normal, they still had elite damage listed on their sheets. This caused the players to burn through far more of their healing resources than they should’ve needed to and left them very weak against a very tough foe that was still fresh.

In a case like this, I find a way to give the PCs an unexpected way to heal or regain abilities. Maybe there’s a healing potion on the alchemist’s table, or a magic circle in a temple fight allows them to draw on the help of the gods for some aid. I hadn’t planned on this initially, but it helps make up for my earlier mistake.

Putting It Together – A Concrete Example

The final battle with Auntie Mengybone was set. Besides the elite briar hag herself, I put in 3 bone golems that I’d dropped from elite to normal, representing that they were simply bone constructs, rather than full-fledged golems. I also added a displacer beast which Auntie referred to as “Fluffy.” It was a tough, but balanced battle for a group of 6 level 8 PCs.

In the middle of the fight, I realized that the bone golems were doing way too much damage. Although their hit points and defenses had dropped properly, their damage was still elite level. I hadn’t spotted this, however, until I’d hit the PCs with a few of their attacks. “That seems high,” I thought to myself, and then I realized the error.

Luckily, the session ended mid-fight, with all monsters but Auntie Mengybone slain, but the PCs in dire straits…almost all encounter and daily powers spent, and several PCs with either 1 or 0 healing surges left. If this had kept up, it would almost certainly have been a complete party wipe, due to my error.

In between sessions, I pondered how to fix this. I wanted Auntie Mengybone to be a memorable villain, so I didn’t want to depower her. I had given her a healing power representing drawing on the power of the Archfey she held captive. While I didn’t want to take this away (the PCs hate nothing more than a villain that can heal itself), I wanted to give the players something to draw on, too.

I expanded the skill challenge to free the Archfey. Now, if they made a hard success on certain skills, the captive Archfey would aid them. I allowed them to choose between giving 2 healing surges to members of the party, using a healing surge, or recovering an encounter power. This gave a concrete reward to those who chose to step out of combat to aid the Archfey, and gave the PCs a way to stay in the fight, even though their foe was still in good shape.

Because I didn’t want them to simply all jump into the skill challenge and overwhelm it in two turns, I gave Auntie a new attack, a little less damaging than her old ones, but one that would negate one of their successes. That made it a more back and forth affair.

Finally, I gave Auntie conditions under which she would flee. I would give the PCs plenty of chances to catch her, but I knew this would change the tactical landscape of the fight.

So the rhythm of the fight went something like this. The PCs waded in against Auntie Mengybone and discovered that she could heal herself using her connection to the Archfey. At that point, half of them broke off to free the Archfey, engaging in the skill challenge while the other half held her in place. Their Controller was particularly helpful in that situation, using his powers to keep moving her away from the skill challenge.

Once the skill challenge was complete, it become another “dogpile on Auntie Mengybone” situation, until she hit her retreat conditions. She used a power to move out of the fight and began to flee, causing the players to switch tactics to catch her and hold her in place, and then defeat her. When it was all over, the players let out a sigh of relief and admitted that they hadn’t been sure they were going to win.

What could have been done better

I have a lot of problems with season 4. Here they are.

The biggest issue, for me, was lack of a proper set up to Keith’s Marmora training. This could have worked as a plotline, and from a character perspective, I absolutely understand why he felt he wasn’t necessary to the team. It definitely makes sense in relation to his characterization. But from a plot standpoint? This has NEVER come up before. We were never told he’d been training with the Blade, we were never shown that it conflicted with being a paladin. Has he been doing it since season 2? When did this start? What if Shiro hadn’t come back? It raises more questions than it provides answers, and to me, it felt like a cheap tactic to manufacture inorganic drama as a way to drive Keith away from the team in just a single episode.

This gets even worse when you consider how we’ve JUST been getting used to the new team dynamic, and now it’s being switched up again, in a way that negates the impact of season 3. How has Lance proven he’s capable of being Shiro’s right hand man? Why is Shiro now able to pilot Black again, when he wasn’t a mere two episodes prior? What was the point of showing Keith becoming a better leader as season 3 progressed, or having Lance support him?

Now, I feel this is something that could TOTALLY have worked - Keith leaving to join the Blade - but only after we had a full season of the new dynamic, and with proper foreshadowing of this development. We got two full seasons of the old dynamic, and to me, the new one deserved just as much attention, in order to have the true emotional payoff of Keith’s departure.

In addition, they should have given us glimpses of his life with the Blade during episodes 2-5. If the point (I’m assuming) is to show him feeling out of touch with their mindset, slowly being brainwashed into that self-sacrificial way of thinking…why couldn’t we have seen that? Why were we instead subjected to an entire filler episode about the Coalition, one that could have been placed at amy point in the series? Finally - and this is just opinion, but I feel obligated to include it - why wasn’t Keith’s absence felt more by the team during episodes 2-6? Why did they all simply continue as if nothing had changed? We know Keith means a lot to them, but they failed to really SHOW that, and I have to say, it bothered me.

Moving on, my second big gripe is about episodes 5 and 6. Bringing Zarkon back to full health (or apparent full health) so quickly was a poor decision. The final two episodes followed the exact same formula as the season 2 finale: gather the forces to launch a big attack on the Galra. It was the exact same plotline, with several details altered. I felt like I’d already seen it, only last time, it was better. A show like this can’t sustain itself on simply doing the same thing over and over again. Because of its nature - introducing the final villain so quickly and not giving an exact number on the Galra - it could, potentially, go on forever, with infinite Galra fleets to destroy and infinite planets to save, infinite times Zarkon can be hurt and infinite times Haggar can revive him. Well, this is only the second time, and I’m already sick of it. Which brings me to the final point: Lotor.

In season 3, he was set up to be an absolute genius. Charismatic, a great talker, able to play people like a fiddle. He was a personal villain for a personal season; after the grandeur of the season 2 finale, it felt right to have such a character-driven villain in such a character-driven season. I wanted that for the WHOLE season. I wanted to see him get the best of the paladins in the finale in a ground battle - or even a mecha battle, it doesn’t matter. I wanted it to be him versus them, with no one else. And i wanted him to win.

But they’ve depowered him, fodderized him, essentially. He’s been declawed, and far too quickly. How can I see him as a threat when he was so easily overtaken? Or, if this was where they wanted to go, why not build him up for the whole season, and show how he falls next season? Why bring Zarkon back? All it does is complicate things and pull Lotor’s plot out from under him. He wasn’t given his true villain arc, and I’m disappointed.

Now, I do think this season will make more sense in context with what comes next. I think the Lotor plot will end up being amazing, eventually, but I’m severely disappointed in how it’s been set up. I think Keith’s eventual return to the team will be amazing, but, again, I’m disappointed in the set-up. And, hopefully, they’ll figure out something new to do with the villains that isn’t just “spawn infinite Galra cruisers and keep pumping Zarkon with quintessence”, because, honestly, that would make me go insane.

Am I Dying?

Originally posted by marilynmay

Characters: Y/n, Castiel, Dean, Sam, Bobby

Pairing: Castiel x Y/n (GENDER NEUTRAL READER)

Warnings: Fluff, cute innocent Cas, kinda angst, scared Cas, teasing asshole Dean, cuteness!!

Word Count: 1100

Summary: Cas has problems adjusting to being human.

A/N: Ok, so this is some random ass fic that came about because of @bkwrm523​ and a cute ass little thing. Cas freaking out over random shit, it’s just too cute. Not sure how cute this came out, but I’m hoping you like it!!

Tagged Peeps: @waywardsons-imagines@whywhydoyouwantmetosaymyname@sallyp-53@salvatorexwinchester@helvonasche @notnaturalanahi @wayward-mirage@riversong-sam@nerdflash @miss-miep @impala-dreamer@mypeopleskillsarerusty0203@greek-geek481@chelsea072498 @deals-with-demons@plaidstiel-wormstache@impalaimagining@deathtonormalcy56@scorpiongirl1​​ @the-latina-trickster@aingealcethlenn@squirels-angels-and-moose@meganwinchester1999@cubs2019-blog​  

Masterlist


“Y/n! We found a hunt. Won’t be back for a few days. Look after Cas!”

Before you could run downstairs and object, the door slammed shut, followed by the sound of the car doors shutting.

You pulled the front door open, only to see the impala leaving a trail of dust and sand behind it, as they drove away from Bobby’s.

You groaned internally.

Cas was…a mess, to be honest.

Something happened.

Somehow, he managed to become human.

Well, human was giving him a bit too much credit.

He was a depowered angel who had the mind of a toddler, it seemed.

Keep reading

The feminist critique is in the air now. If my rendition of Black Panther wasn’t created by that critique, it breathed the same air. I can’t really kill off or depower women characters without grappling with Gail Simone. I can’t really think about how women characters are drawn anymore without thinking about the women in Bitch Planet, and how they seem drawn beyond the male gaze.

This is why criticism is important. The job of criticism isn’t to interrupt or encourage commercial prospects. (“Batman vs Superman smashes Box Office, despite critic complaints!”) Criticism should push our imagination and help us understand what is actually possible in art and, I’d argue, even what is moral. Through much of my time collecting comic books I never took much issue with how women were drawn. I had a vague sense that there was something about, say, the reworking of Psylocke that bugged me. But I simply didn’t give it much thought. It never occurred to me, for instance, to ask whether a superheroes pose was anatomically possible. It never occurred to me to ask why a super-hero would have DD cup-size. Was that for her benefit, or for mine? I never asked.

The feminist critique of comics has made “not asking” a lot harder. That, in itself, is a victory. The point is not to change the thinking of the active sexist. (Highly unlikely.) The point is  to force the passive sexist to take responsibility for his own thoughts.

—  The Feminists of Wakanda,  Ta-Nehisi Coates

OUAT Mini-Review 6x11: Tougher Than The Rest

We’re baaaaack! At last I can leave the anti-rumple tag, which I’ve been in so long I started to get brochures about time shares, and go back to snarking on everyone. Oh, happy day! Let’s dive into that enchanted overnight wardrobe together. Ready?

  1. Someone needs to talk to Emma about her eyebrow situation– she looks perpetually surprised and slightly upset. That’s how most Rumbellers felt all of 6A so I feel you, Emma– but Kabuki Eyebrows are not the look for spring. Change the fate on your face first, yes?
  2. Teen!August looked nothing like either Adult!August or Kid!August but maybe that’s a subtle meta-commentary on unreliable narrators? Discuss.
  3. Kid!Emma looks like she could punch you in the face and I admire that. It’s tough to glare in a beanie, but she’s got it down. I love that she chose her own name, too.
  4. I don’t know why they needed a magic chisel when Pinocchio could just chew the scenery all the way down to Storybrooke. But while I disliked the O.G. bobble-headed liar I really liked Wish!August, daddy issues and all. I even liked that Original!August was typing on the Mystery Fakeout Typewriter in the garage so he wouldn’t wake his Papa. Such a nice boy. I guess this episode was about Redeeming Non-viable Stubbly Love Interests– I’m not sure we needed that, but it was nice to see. (Now, where’s Walsh?)
  5. Wish!August carved a wooden swan (ship name call-out!) out of instinct, and Wish!Robin had his feather and didn’t age (along with Wish!Sheriff Nottingham), implying that there IS a connection between the Wish!realm and the “real” realm. Maybe all Wish!Robins go to heaven?
  6. Wish!Robin is bitter and salty and somehow I liked him better than the real thing. Wish!Robin and Regina had more of a believable connection in this episode than all of S3-5 for me, which just goes to show when you slow down and have people talk to one another instead of just screaming at monsters in the same frame magic can happen. 
  7. Regina gets hit with the Anti-magic Slap Bracelet of Convenient Plot-points … but wasn’t that brought to Storybrooke by Greg/Tamara/Peter Pan? How would it appear in the Wish!verse? (Cue Wish!Rumple reading “Circuitry and Plot Holes for Dummies.”)
  8. I know we’re supposed to sympathize that Regina’s super glum that this realm seems to be “better off without her” but, you know, she DID drop a lot of bodies. I want Regina to love herself and re-integrate post-haste because it’s healthy  … and also because Split!EvilQueen has killed three people and screwed with Belle. But I am here for Happy!Regina– let’s see more of that this season.
  9. Wish!Hook was there for comedic effect, and it worked for me! Nice to know he’s still got his swagger in this realm; I didn’t even mind the potbelly. What would you rather, a bag of bones?
  10. Speaking of which … So Wish!Snow and Charming never checked Regina’s tower for prisoners, which is why Wish!Belle starved to death along with who knows how many others? This is why Regina is mayor. This is why Regina will ALWAYS be mayor. Remember in S2 when the curse broke and everyone was running around trying to find their loved ones and Charming just gave a speech about hope, when it turned out Regina had binders that scrupulously recorded everyone’s real name, cursed name, and address because she’s a giant nerd who takes her real-life SIMS game seriously? Regina may kill the odd peasant when she’s having a bad day but she’s the Project Manager Storybrooke needs, is what I’m saying.
  11. If Belle was dead for 28 years when Rumple found her skeleton, how did he know it was her? Did Belle claw a goodbye message in the walls before she died? “DEAR RUMPLE SORRY WE NEVER BANGED XOXO BELLE.”
  12. Also, that wasn’t remotely a full skeleton Rumple dropped on the ground. What did he do with the re– you know what? I don’t wanna know. (Note to fic writers: I don’t want to see the words “sad wanking” and “tibia” in the same sentence, okay? O-KAY?)
  13. Gideon wants to be a hero, like his mom, by stabbing someone, like his dad. I love it. Gideon is a tall emo drink of Angsty Monk and I totally would– but where are his lips? #PoofGideonLips2k17
  14. When Rumple had his tete-to-eyes-all-the-way-up-here-tete with Gideon and went: “You’ve been alive for 28 years, I’ve been alive for centuries. There are things a man learns …” I thought for a second it was going to turn into a rather-late-in-the-day explanation of the birds and the bees. “Your mother has written this pamphlet with some of her favorite positions, but you have to be a bit flexible to– wait, where are you going?”
  15. Do you think Belle has her wardrobe categorized by mood? Her white fur coat ensemble was filed under “I’m Trustworthy But I Like to Bang Dangerous People.”
  16. Unless the script read: “RUMPLE sneaks off STAGE LEFT while BELLE awkwardly goose-steps off STAGE RIGHT” the director has some explaining to do. That was the worst example of “walk casual” I’ve ever seen, unless they just had an angsty parental quickie in the alley or something.
  17. Speaking of weird directorial choices, where’s the missing scene between Belle and Gideon? At the well Belle intimates that Hook/Charming “betrayed her trust”– but she just asked them to hold off until she could talk to Gideon. That was during the day and then all of a sudden it’s night, Belle’s changed outfits, she hasn’t talked to Gideon, and she says she “protected [Gideon] knowing what he wanted to do.” Er, was this off-screen? I know a lot of Rumbelle is reading between the lines but sometimes things need to make it in the episode, you guys. Maybe next episode will have a Belle/Gideon conversation and they didn’t want to be too repetitive?
  18. Way to ruin your mom’s clock tower, Gideon! I know some people were mad at Belle for staying on the Jolly Roger in 6A instead of in her library apartment … but do you know how many times the clock tower has been broken into by villains? Maid!Joanna died there, Hook was tied up there, Rumple tried to massacre nuns there, Maleficent was in the basement for 28 years, I think Dark Swan hung out there once … Belle would never get any rest up there, is what I’m saying.
  19. Charming is going off the rails on a sleep-deprived crazy train and I’m here for it. But remember, Snow is the brains of this particular operation. Tag her back in before you drop of exhaustion, yes? No more than three Red Bulls at a time.
  20. I’m all for the message that you can change your fate, but this is intimating the writers are taking “Killing Emma” off the table of options, no? That leaves either depowering-via-shears, sleeping curse until a “cure” is found, or some kind of Hail Mary-Margaret shenanigans in the finale involving a mass-TLK or something. *bites fingernails* I can’t stand the suspense!

anonymous asked:

I feel like that at the end of ToG Aelin will either be depowered BIG TIME or lose her immortality. I don't know, to me it just wouldn't feel right for her to seal the gate or forge the locks, stay alive and not lose anything.

I feel Maas has already hinted that she can’t keep her fire magic and be a good ruling queen. It’s too much power and we’ve seen over the course of the story how having it alters her life and personality in ways she doesn’t want/care for. It’s a “gift” but it’s largely a burden she shoulders. If that makes sense? And all the talk about her water/healing magic being her “salvation” I think is what she will be left with in the end when she uses up all the fire magic. She could maintain some of the fire, but I doubt it will be anything near what she has now.

She’s also ALWAYS wanted to be a healer. So it’d be nice if she got to have that. With the fire magic gone, I’d wager a guess that it would be easier for her to access her healing magic.

That’s also the thing about Aelin that always gets me. She never gets to choose her path. It’s always thrust upon her. And while I think she wants to be queen so that she can save her people and honor her parents (and prove Darrow and everyone wrong), it’s also not a path she ever had a choice in. So she chose it by the end of HoF, but it’s still not a path I feel she would choose if there were someone else qualified who could do it better or just as good. But being a healer is something she’s always wanted. So be being queen and “healing the land and people” by uniting them and winning the war blah blah blah she gets to do that in a sense. But I just feel like Maas might take it a step further and let Aelin ACTUALLY CHOOSE to do something with her life that she wants. And all along that’s been healing.

Also if Rowan gave up his immortality for Aelin, I’m be 100% behind it! I’m sick of movies and stories where the girl gives up something of herself for a man. (The little mermaid, beauty and the beast the list goes on…..)

anonymous asked:

Hippolyta once said Kory rivalled Wonder Woman in terms of combat skill. WW is currently considered the best melee fighter in the DC universe, but I think that was stated quite a while after that NTT issue. What sort of skill level do you think she was intended as being? Do you think she’d beat Dick in terms of pure skill (i.e if she got depowered to human levels)? If so, are we talking her being Nightwing/Batman/WW level still? Tbh it’s sad people seem to forget how much a ninja she actually is

For reference: 

[New Teen Titans v1 #13]

I believe that she was intended to be a highly skilled and adaptive warrior that could easily adapt to all forms of combat. As you can see above, Hippolyta tells Raven they’ll see how well Kory handles a battle staff and Kory proves that she’s incredibly skilled because she was instructed in the use of something similar on Okaara:

I absolutely think she could take Dick in a fight if she was de-powered and even though she tends to rely on her starbolts a lot, she’s still a highly skilled fighter. Here’s something that Vic said about her in New Titans:

[New Titans #63]

He says she, Kory, and Raven are the three most powerful Titans and I think this applies to everything about them, not just their power sets. And we can’t forget about the time she beat Donna in Tales:

[Tales of the Teen Titans #42]

Suffice to say, I believe that Kory could definitely be on par with the bigger names of DC Comics but that writers forget/ignore how powerful and skilled she actually is. Hopefully one day, Kory will be able to return to that same skill level with her background as a warrior more fully explored and implemented in her story. 

“Alien: Covenant”

-I fucking loved this film, utterly and wholly because Ridley Scott let his freak flag fly

-this film is mythological in stature; combining Greek gods, Mary Shelley, Old Testament, haunted houses, the cosmos; goddamn delightful

-as the first shot implies, the android David is our protagonist

-in fact this film starkly makes me realize that he is kinda the whole key to the “Prometheus” saga (which makes it separate from “Alien” saga)
+everyone else plays second fiddle /he is an id for Ridley

-this might be Fassbender’s greatest performance yet; he is given great leeway and pedestals for the character and hits all of them on the bullseye

-I think the little opening mini movie is marvelous; deftly setting up the idea of mortality and creation

-nice to Guy Pierce play Weyland young, allowing him to put his distinctive gravitas stamp on the character

-the shot of David at the piano is a scrumptious shot that exists inside the film and by itself

-the scope of the space station with the yellow sail, immediately tips us off this will be a grand adventure, far away from the tight corridors of “Alien” and very much its own thing, in the 50’s sci fi mold
+I love it

-didn’t expect a person to burn to death in their cryo sleep chamber. A sharp note to unsettle our nerves

-Fassbender plays a second, pretty much identical looking android named Walter, and his very small adjustments become pronounced the more we see him interact, creating a separate identity

-he is much more docile and very tender to the grieving Daniels (the wife of the burned man)

-Daniels is played by Katherine Waterson, who has a moppet look but fierce convictions

-I find her scene mourning his loss and their shattered co life together very moving and well done
+interesting to note a woman getting over a man’s death when often in films it’s very much the opposite

-what is up with both films in “Prometheus” saga making the pilot the most amusing character, and a name actor playing them? Ideas Elba before, Danny McBride killing it here

-I laughed out loud when the Daniel’s ex is revealed to be James Franco; face timing while rock climbing without a safety rope is exactly what his reputation would infer he would do

-I find the use of McBride humming along to the transmission to the tune of John Denver very amusing
+again echoing Elba playing Stephen Stills’ “love the one you’re with” (and I suppose the disco in Scott’s “The Martian”). 70’s music in the 22nd century. Interesting motif

-I like how the film establishes billy crudup’s character as a total chickenshit, unable to handle the responsibility of leading the crew
+interesting detail where it talks about him being super religious, referring to his fellow colonists as “my flock”, leaving him thought to be unsuitable to delegate and survive under pressure

-crudup of course ignores waterson’s perfectly good advice and reservations, which makes me wonder if the morale of the Universe is “He should have listened to her; the story of the cosmos”

-it is very strange to see so such forest and green land in this series

-I particularly like the line “do you hear that? Nothing. Absolutely nothing”

-the chemical warfare of “Prometheus” is very pronounced as the black substance makes its way into the victims ears noses; again, this directly clashes with the Ripley saga but it’s doing its own thing here and and is pretty consistent

-nice little moment as Walter tries to comfort Daniels’ reservations by simply stating “it would make a lovely spot for a cabin” then walks away; contrast to Crudup’s character overselling how great he finds it, and continues to rattle off how over worried he found Daniels, this smothering her and make her apprehensive
+brevity is the soul of wit is set up here

-good god, there is a ton of blood here, a smattering of it

-I find the scene where the first infected strobes out and spurts blood out his back to be effectively creepy

-I’m considering the creature in this film (“neomorph”) a in between. Not as well designed as the giger perfection, but a huge step up from the black sea liquor from “Prometheus”. It is startling and very well directed

-a masterful little shot as a dead colonist is shown partially in frame, his wedding ring clearly in shot, another man cupping his head, and whispering to his mouth “I love you”; succinctly setting up their same sex love and marriage

-the neomorph is definitely far more animalistic in this film. It’s given unhuman like movements, that suggest more primal instincts

-I cannot do justice to the goosebumps I felt as the party was lead by its stranger savior and we see the charred bodies and landscapes

-the stranger savior is at this point revealed to be David (with iggy pop type hair at first) who then hijacks back the film, rightfully so

-immensely hilarious moment as David shoulder knocks Walter, and adds “Hello there, brother”

-David is giving me Dr. Pretorius (“Bride of Frankenstein”)/Dr. Moreau (“Island of Dr. Moreau”) vibes
+ie creators who bent the structure of biology and didn’t care who got destroyed in the way

-there is a long, long scene where Walter and David take turns playing the flute that is frankly worthy of an entire essay in itself

-firstly, it’s a big fuck you to anyone who was dismayed by the flute segment in “Prometheus”
+there it was five seconds, here it’s like 10 minutes and two identical people are doing it at the same time

-secondly, they are playing the fucking theme to “Prometheus” on said flute
+those is self-reference in the scale of Mel Brooks (and makes me think Ridley was grinning during the Sean bean-“lord of the rings” scene in “The Martian”

-the line to Watler from David “just blow, I will take care of the fingering”

-it is revealed that David unnerved people by being so human like in temperament that future versions like Walter were “streamlined”/neutered, so that Walter can play but not compose
+there’s going to be a whole genetic modification bit coming up, but now I realize how eugenics/forced sterilization this sounds

-the contrasting glee in David’s voice and unease in Walter’s eyes as David relates how he was around their creator when he died, and David notes “he was stupid and weak, like all humans”

-the whole scene the camera is robotically swerving around clearly adding to the tension the audience feels in witnessing this unorthodox meeting

-needless to say, the film takes a monumental leap and variance in tone hereafter

-David mentions that Shaw (From “Prometheus”, last seeing going with David as a decapicated head) died, but she was “so kind to me” and David loved her
-“much the same way Walter looks at you” (Daniels disagrees) “oh, does he call it ‘duty’? I know the difference”

-Ridley is really digging into the horror elements of the film as the neomorph comes up the wall and severs a woman’s head, leaving it floating in a full sink
+the neomorph is eating her shoulder, shoring carnivore habits for the time in this universe

-one of the strangest moments (and there will be plenty coming up) where David and the tall albino neomorph are communicating via breathing

-the most emotion David has is when crudup kills it and David screams “how could you?!? He trusted me!”

-crudup has a equally odd non sequitur where he threatens David to “tell me what is going on, or I will destroy your perfectly calm composure”

-this film is bizarre and exploitive in the extreme

-for those that are keeping track, the importance hierarchy is as follows
David
neomorphs/xenomorphs
humans
+we are fucked

- my favorite sequence in the entire film as we see (via David’s memories?) that he dropped the entire payload of black goo/chemical weapons upon an unsuspecting engineer population (who look totally different from ones we saw in “Prometheus” in facial structures and eyes) and they die as the goo descends upon them like locusts.
+it seriously looks straight out of Exodus as God wrecked his vengeance upon Pharioh

-so yes, that was the charred bodies we saw before

-we see the lair of David as it is littered with graphs, illustrations, designs of his work in the goo into the neomorph and beyond
+ his response, dripping with sarcasm: “idle hands are the devil’s anything”

-we are officially one step closer to classic “Alien” universe as the first facehugger is introduced (to kill crudup)

-Daniels is trying to reach Tennessee (Danny McBride) as still others are getting slaughtered, the neomorphs are clearly the hounds to David’s Satan

-line of the film as crudup wakes up to see David, asks him what his religion is, and he responds “Creation”

-a early beta of the xenomorph is here (still not quite Giger 100), as he splits from Crudup’s chest after the question, and he dances, mimicking the moments of David
+David looks like a puppet master pulling the strings

-more facehugger madness as others go after the remaining human sheep

-much like “Prometheus” this multi million dollar film has a strikingly low opinion of humanity
+ at this point, two films in, the expendable nature of the vast majority of people therein is a feature, not a bug

-positively bizarre sequence as David tempts Walter to his side, kissing him(self) on the lips, before ripping out his neck battery, depowering him

-I neglected to mention just before that my second favorite line of the film, after Walter cited a line then asks who did it, David answers Byron but Walter correctly notes
“No, Shelley. If one section of the orchestra is off, it changes the entire symphony doesn’t it?”

-David has officially gone too far

-David coos “no one knows what it is like to dream and be perfect like myself”

-remember early when I said the importance scales? Well, since Ridley seems to see David as a propionate of creation, therefore a creator it would perhaps follow as such
Artists
Art
People

-possibly subliminal moment where David corners Daniels and she’s asks what really happened to Shaw, and David says “this” then forces a kiss upon Daniels
+so did this robot, who was too human for other humans, teach the neomorph to rape?

-Walter is back (they made a few safety measures since David) and this we get to see someone hitting his own face repeatedly
+it is fucking weird to see this brawling action in a Ridley Scott film

-Tennessee is here to save the day, but now the brute pronto xenomorph is here, and this murder is getting more grisly by the second

-David asks Walter to decide whether to reign in hell or serve in heaven as he reaches for a knife

-the sequence where Daniels is held by a straight line as she keeps falling over the side of the ship, swings and shoots at the proto xeno is jaw dropping

-is Tennessee the giant claw dropper of doom as he uses an arm to crush the proto xeno? Seems like it

-you better believe I was eagle eyes to see if it was Walter or David helping Daniels

-aboard the main ship there is a unidentified life form aboard, but where are the co pilots?

-in a scene straight out of the sleaziest slasher from the 80’s (like prime “Friday the 13th”) the co pilots are having shower sex (to some r&b music) when the xenomorph puts his phallic tail between their genitals
+then impale tongue’s the guy’s head. Sexploitation!

-every close up on Fassbender’s face is a mini master class in suspense

-I fucking cannot believe they brought back the xenomorph point of view, the first time since “Alien 3”

-this second proto xeno is slobbering like the cerberus he is

-my heart is pounding like a jackhammer the entire time Daniels is staying barely ahead of the creature

-“care to lend a lady a hand?” might be the mantra of this depraved series

-the subtle continuity of the cabin comes up as her face screams in terror as she realizes David is here, and there are no cabins in hell

-one final twist of the screw as David coughs up some proto xeno eggs and looks upon the vast laboratory of human frogs to dissect

-this film took everything I loved about “Prometheus” and kicked it up ten notches, while adding many many more layers of cosmic craziness. Oh, and blood.
+ I am fully confident the “Prometheus” saga will gain a cult following and be seen as one man’s tremendous exploitation of his own creation(like David?) and a particular, articulate and demented journey into space hell.

-I myself feel the flames get higher and higher, and wonder if I will be making repeat journeys to this particular corner again. I feel it to be so.