does this make sense in context


So it has come to my attention that some people are calling for a boycott of Wynonna Earp over the gooverly/wynonna kiss. You want to cancel the one show that has treated their lesbian couple better than any other show to date over a peck on the lips? If you think it’s ok to boycott everyrhing you don’t like, if you think it will be ok to go harass Andras and the actressess over this then unfollow me. I firmly believe that Dom and Mel would have voiced concerns over the scene and I am as convinced Andras would have listened. .

You need to understand that this was not a waverly/wynonna kiss. It was a gooverly/wynonna kiss. It makes sense. The demon wants to be in a position of power but it needs a host that is dark enough for it to have the right habitat. What does it say about Nicole that the demon didn’t transfer to her? It can’t cause Nicole is FUCKING GOOD. Wynonna is good but also flawed and grieving and the demon will feed on that.

And isn’t it ironic that Wynonna the demon slayer is now possessed?

I have seen the argument that now homophobes will latch onto this to call us perverts. Because they will lift it out of context. Newsflash: the first people to lift it out of context are the people getting their knickera bunched up over an incest that isn’t there. I am looking at one particular “famous” user on here with whom I can’t even have a discussion cause apparently they are blocking everyone disagreeing on this. And they don’t even watch the show.

If you are a fan of the show you should be able to read the subtext.

Also spare me with the “this is what happens when the straights write a queer character” bullshit. Do you need to be a serial killer to write murder stories? You think Stephen King dresses as a clown overnight and drags kids to their doom? What about if someone told you that you an LGBTQ person can’t write queer romance until you fell in love. Wouldn’t you call that bullshit?

So Andras went from hero to zero in one scene. Check yourselves. You are here complaining about content that she created in the first place so you could complain about it. Without people trying we wouldn’t have anything. And their sexual orientation doesn’t matter one bit.

And this is the reason why instead of growing our content dwindles. Because writers are afraid to try, because when you do try and get it wrong you get death threats. You only need one “famous” internet celeb to whip up a mob except that on the internet you can say whatever the fuck you want without repercussions. At least a lynch mob in real life can be lynched back.

You know, all you need to write good characters and good plots is empathy (and research). Something lacking on both sides of the fence. But at least Andras is trying and if I learned something from the way she handles things it won’t be easy but Wynonna and Waverly will have a resolution about it. Because as soon as Waverly figures what has happened you bet your ass she will try to save her sister.

Because they are Earps. No matter what a birth certificate may say.

So don’t you dare ruin this fandom, which is the best fandom I have been in ever, because even different ships support each other. You don’t want to watch fine move along. Leave us be.

Look how well the boycott turned out for the 100 uh? (a show in which the show director actually queer baited people) If you feel like it please reblog. I am looking for an actual discussion with whoever wants. Or drop me an ask


I don’t know if this is common knowledge or not, but this scene here is the first, and only time Edward cries in the series. From the day he and Al burned down their home until now, this is the only time.

Ed didn’t cry when he and Al discovered what had become of Nina. He didn’t cry when she was killed. He didn’t cry when Scar destroyed most of Al’s body, or when Scar was moments away from killing him. He didn’t cry when Al accused him of creating a fake soul and binding it to armor, of inventing a brother as some kind of sick joke. He didn’t cry when he learned Hughes had died, or when he confronted Gracia and admitted the murder was likely his fault. He didn’t cry listening to Al admit that he was at his wit’s end, that he couldn’t stand all the nights alone anymore. 

He didn’t cry when he learned Scar had killed the Rockbells after saving his life, or when Hohenheim accused him of running away. He didn’t cry when he discovered the thing he’d transmuted wasn’t actually Trisha, or when Envy told him they were doomed to die inside Gluttony’s failed portal, or when Bradley took Winry hostage, or when the fight with Kimblee left him with a ten foot steel beam puncturing his side. He didn’t cry when Pride hijacked Al’s lifeless body, or when he let Al be locked up in total darkness with Pride, or when Father took them captive and used them to kill everyone in Amestris.

And he didn’t cry when Al sacrificed his own soul to save Ed’s life.

No. He’s gotten angry; he’s yelled; he’s exploded, but he’s never cried. This is the only time, and it’s when Hohenheim tells Ed to his face that he loves them, more than anything in the world, and only wants for them to be happy—that everything that happened had been his fault, as their father, as an adult, as the one who should have been protecting them, and not Ed’s.

And Ed bawls.

Here’s why: Ed hates Hohenheim, and will easily admit it, but he doesn’t hate Hohenheim in the way he hates other people. Ed enjoys talking smack about those he genuinely hates—he’ll talk about wanting to beat Scar bloody for everything he’s done, and wanting to kick the homunculi’s asses for trying to use him and Al as pawns. Hell, he even enjoys jabbing at Roy for the personality traits he dislikes. Hohenheim is different though. Hohenheim is the only person Ed hates that he also hates talking about. Every time Hohenheim is mentioned, Ed responds with a quick, scathing comment about the man and desperately changes the subject.

And this is all because Ed doesn’t feel right about his hatred toward Hohenheim. For all the others, Ed hates them from a blameless position. The homunculi hurt innocent people, as does Scar, as does Kimblee. Ed securely knows he’s the good guy who hates these bad guys. He’s the moral one, the blameless one, pushing back against a truly antagonistic force. And this is what Hohenheim is not. All of Ed’s hatred toward Hohenheim stems from a place of projected guilt and self-loathing. Ed decided to try to bring Trisha back to life. Ed performed the transmutation that got Al’s body taken away. Ed burned down their home and enlisted in the military, and Ed agreed to do awful things in order to try to fix what he’d done to Al. But, if Ed dials everything backwards, he can almost justify rooting this in the fact that Hohenheim left them first.

If Hohenheim had stuck around, maybe Trisha wouldn’t have died. And if she had, Hohenheim could have stopped Ed and Al from doing something so reckless as human transmutation. He’s their father after all. He’s supposed to be responsible for them. But he left, so Ed can almost rationalize the idea that it was Hohenheim’s leaving that led to everything bad in the brothers’ lives.

Ed knows this is grasping though, and he clings to it in part because he’s convinced Hohenheim hates him too. The clearest memory Ed has of his father is from the morning he left, standing stiff at the doorway, glaring down at Ed before heading out the door and never returning. (A glare which we later learn was the result of Hohenheim furiously holding back tears). Clearly, Hohenheim hated Ed and Al and Trisha enough to just walk out the door one day without saying goodbye. Ed’s probably spent a lot of sleepless nights wondering what they’d done wrong as a family—what he’d done wrong as a son—to make his own father not want him anymore.

So when Ed talks about how he hates Hohenheim, it’s 100% intertwined with a hatred he feels for himself. And it’s an insecurity Ed would never, ever admit to.

Meeting Hohenheim again in episode 20 only works to confirm Ed’s fears. Hohenheim is unbelievably cold to him—Hohenheim confirms that, yes, all of this was Ed’s fault. Ed committed the taboo; Ed burned down their home as a means of hiding the memory. He’s disappointed in Ed. He hates him as a son. And he leaves, again, without goodbye, because Hohenheim didn’t return home with any sort of change of heart.

Learning the truth about Hohenheim only serves to scramble Ed’s feelings. He’s confused; he’s uncertain. He can rationalize Hohenheim’s departure in the context of preparing the counter-transmutation circle, but what about his memories of the man who glared at him, filled with hatred, and left? What about the man who accused him of being a scared, stupid child who’s to blame for all his failures? What about the man who—if only he’d stuck around—could maybe have stopped Ed from doing all of this? The truth makes sense, but it does nothing to alleviate all the guilt and self-hatred Ed feels in relation to Hohenheim, so he doesn’t soften to his father like Al does.

Until this scene.

Until finally, Hohenheim says everything Ed’s desperately wanted to believe for the past ten years. Hohenheim loves him. Hohenheim cares about him. Hohenheim blames himself for what happened—he should have been around for Ed and Al, he should have been there to stop them from doing the impossible, he should have been their father. He wanted to. More than anything in the world, he wanted to just be there for them. Their family was everything Hohenheim had loved in life, and he’s sorry, from the bottom of his heart he is sorry, for how he left them behind. So sorry, that he wants to sacrifice his life in order to fix what little of it he can.

And that’s what breaks Ed. He was strong enough not to cry at any other time, for any other reason, but in these few panels Hohenheim destroys the mangled, tortured sense of fear and guilt and self-loathing that Ed had been harboring for a decade. Hohenheim loves him. Hohenheim is happy to be Ed’s father, proud, and so so sorry.

For the first time, Ed cries. Because for the first time, he feels like he can call Hohenheim “Dad”.

Okay, guys… you desperately want some angst? Well, here’s the best I’ve got. It’s actually a combination of a lot of things from recent videos and they all have to do with our princey, Roman. Some of these things I’ve seen mentioned and some I haven’t… but they’ve all been on my mind for awhile now.

Alright, let’s start off with the Christmas video and work our way backwards, shall we?

One thing I’ve started to notice is how much more desperate Roman is for people to enjoy any idea he comes up with and not just that either, it’s also becoming more apparent how Roman wants to be the leader. He wants to be the one the others listen to.

For a majority of the Christmas video, we see Roman taking charge, making the other sides sing the song even though we know Virgil would prefer not to and even though Logan eventually gets into the mood (by rapping and relating the song to things he enjoys personally) it’s obvious he wouldn’t want to sing either by the like “I do not like to sing”. I’ve seen several mentions of Roman being “mean” to Virgil here by only giving him one line in the song.

Roman is not being mean. He’s being understanding. Roman has learned that Virgil wants to be included but not too much. So, Roman gave him only one line in the entire song.

Now I’m gonna break this down with some screenshots and gifs because I feel it’s important to see something here.

Immediately after Virgil finally sings the line for Roman, Roman is excited. He’s elated! Virgil finally sung the line he loved so very much.

I feel like this is Roman “trying to be funny”. He’s trying to get all of the others to laugh with him and it doesn’t go over well. He’s all smiles until Thomas, Logan, and Virgil all tear apart the line.

Originally posted by what-even-is-thiss

It’s obvious this line means quite a bit to Roman as he gets upset when all the others don’t like it. (Gif credit: what-even-is-thiss)

When Virgil says the above line, I feel like he thinks Roman is messing with him yet again. Giving him one line that is obviously so different from all the other lines, making him stand out again. Virgil had been working so hard to be accepted and fall into place with the others that he didn’t want to sing a line that felt so wrong. It felt wrong and Virgil was afraid of messing up again. It’s even possible he thought Roman gave him that line to make fun of him. That’s a bit of my personal interpretation coming out instead of what is actually seen on screen.

Also, remember how out of place this line is in the song. I’m gonna come back to it.

Now, going back even further in the beginning of the episode. Thomas is being lazy (because heck yes winter is the lazy months of the year and all I do is sleep) and Roman wants to make an episode. He’s the first to pop up after the intro, alongside Patton. After watching this scene several times, Roman is obviously the one in charge – it was his idea to pop in. He brought Patton along (since later we learn Patton helped him with the sweaters) not only because Patton was involved but also because Patton is a balance for him. Roman can get excited and Patton will also get excited but! Patton also makes sure to tell Thomas “if you want to”. Patton basically reminds Thomas over and over again that even though Roman super wants him to do something, it’s okay to say no. Of course, Thomas says “Sure!” and the video begins with both Patton and Roman excited.

This is one of the first videos where it’s not Thomas’ idea for the video. Roman clearly wanted to make this video to show off the sweaters and the song he wrote. Roman wanted to be the leader and the one in charge because he hardly ever gets to be. Normally the natural leader is Logan but Roman wants to control this episode because of all the “gifts” he wants to give. He’s so proud of the sweaters and the song so it’s why he’s so happy at first before the song happens which leads to all of the things mentioned above when the song part doesn’t go over so well.

Now we’re gonna move on to some of Roman’s lines in recent memory and read into them because why not?

Okay first one:

This line literally comes out of nowhere and even Roman says “Yeah, I’m sorry I don’t know where that came from?”

And then I won’t post the picture again but the awkward “And A Truckload of Bubba Gump Shrimp.” This line literally doesn’t mean anything for the song.

Also the whole A Christmas Carol tangent:

Roman literally finds it impossible to control his thoughts here. He has to keep going until he’s done. 

Moving on…. to well… Moving On:

We are shown multiple times of Roman trying to figure out a way to get Thomas back with his ex. There are so many times that even Virgil has to start reining him in on every suggestion. We even know he’s been at this all day as Logan says he’s been working on it all day.

I feel like Virgil’s line is important because Roman, once again, jumps to something completely heavy and he feels like everything is moving too fast.

And even though Roman’s idea is a decent one and supported by Logan just a bit, he still drags it back to reuniting with Thomas’s ex! And yet again Virgil has to rein in his creativity and Roman jokes again about how he’s just joking. It’s all a joke… or is it?


He covers his mouth and looks incredibly sad here. Almost as if he cannot control himself. He wants to stop bringing it up but he LITERALLY CAN’T.

The “jokes” of getting Thomas back together with his ex continue until they all go into Patton’s room.

And yet another throw away line that means nothing other than recognizing a joke/creativity: “Did you see what I did there? I made it sound like I said field trip, but I said feel trip (points to heart/emotions) feel trip.” Like he wants his joke to be NOTICED.

Roman is immediately distracted quite easily by everything in the room. The rest of part 1 is pretty much focused on sifting through the memories and is more about the others than Roman himself until the very end of the episode when Roman says “Hey, do you guys remember the 5th season of Lost?” other than a funny reference, this line again… COMES OUT OF NOWHERE.

In Moving On Part 2, we have a lot of uncontrolled Roman. Of course, you could say this has a lot to do with being in Patton’s room but even while he’s trying to help he gets off into tangents.

Roman continues the butt joke for so long it overstays its welcome but its important to notice that he says

And then once everything has kind of calmed down and Roman’s own thoughts catch up to him, he apologizes to Patton and Virgil for making things worse until….

He gets distracted again. The possibility of being back with Thomas’s ex causes him to ignore everything he just says which after Virgil commands Thomas get rid of the phone and he does, Roman is able to refocus and calm down.

Everything seems okay after this (even with some scenes of Roman calling out the bad things of Guys and Dolls or asking Thomas to clarify stuff – I think those are just for funny stuff)

OKAY. Remember how I said earlier to remember all of the out of place lines?

This is where I’m drawing the angst to: Roman is losing control. Slowly but surely, he’s losing control of his own creativity. Why? Who knows? It seems like the more the episodes go on, the less he is able to control his own thoughts and he goes off into tangents even though that’s not his point i.e. the “butt dialed” joke that goes on for far too long, “naked aunt patty” literally coming out of absolute nowhere that even Roman grimaces after saying it, “Hey do you guys remember the 5th season of Lost” where did that come from?? Like it makes no sense context wise even if it is kinda funny JUST LIKE ANOTHER LINE AT THE END OF A SONG…. see it all comes back to this.

But here’s the thing! Roman can create… when he actually does it for someone else. He tends to try to make things he likes and then hopes the others will too. But if he creates with someone else in mind, it works out beautifully: the sweaters prove this and so does the new line he makes for Virgil in the song.

I think that’s going to be Roman’s lesson about his room. Because he’s the ‘ego’ and Thomas’s 'vanity’, he’s gonna have to learn to put others before himself and maybe his creativity can be brought back under his control.

Also, while I have you here, did you ever notice none of the other Sides actually call him “creativity”? Thomas has once or twice but never the others. Must hurt to not be called by what you represent… especially if you feel what you “create” isn’t good enough even though that’s your one job. :)

Thank you for coming to my Roman angst discussion. Feel free to add your own points or say I’m completely wrong :D

Reading in other languages

Spanish: there are a few words you didn’t know but they’re cognates or you can figure them out from the context. Fairly understandable & grammar makes sense.

Mandarin: literally only one character you didn’t know before but it messes up the whole sentence. No easy way to find out what it means either so barely half understanding of this one.


the thing about the idea that the portrayal of Loki in Avengers was somehow character assassination or “incorrect” really bothers me, because it…ignores the idea that Loki might have possibly gone through character development. if Loki went straight from the Loki of Thor to the Loki of Ragnarok, it wouldn’t make any sense at all - and frankly, there’s some part of me that kind of feels like I want to see the development from Loki of The Dark World to Ragnarok, but…I can still believe it.

I can believe that Loki could have moved from the angry, bitter, resentful way he was in TDW to something lighter and more at ease - because between TDW and Ragnarok he’s had time where he’s not imprisoned, he’s not fighting for his life, he hasn’t just gone from a major breakdown only to end up in basically the worst possible place for his mental health (which is where he was in The Avengers). as of Ragnarok, for the first time since Thor Loki’s had time to relax, to exist in a state where he’s not in danger and constantly under threat. 

he’s returned to the state he was in at the beginning of Thor, more or less. healed, at least a little, and therefore is in more of a position to recover some of the shattered sense of self and state of anger he was in before. 

I’ve always maintained that part of what Loki needs to get his feet back under him is some time away from his family, and after the end of The Dark World he actually gets that. Thor’s gone and Odin’s out of the picture - the two biggest Issues with Loki prior to that. it gives him space to relax for the first time since 2011, for a full three years. I have to imagine that helps. 

Loki of The Avengers does make sense, in context of his state of mind at the end of Thor and what he clearly goes through in between. and since then he’s been inching slowly forward. the arc in between, including The Dark World (for all its flaws), is necessary in order to make his arc in Ragnarok in any way rewarding. 

and I’m getting really tired of the seeming need to tear down Loki’s characterization in other movies in order to prop up Ragnarok, which should be able to stand on its own merits.

anonymous asked:

lmao even if those lyrics were about eleanor how does it make sense to leak them in context? "FUCK the music industry this means war bitch!! i'm about to leak a snippet to this song pay attention to the lyrics bitch :~) because they're about.... a secret trip i took to amsterdam where i was really missing eleanor ;/" bye lmao of course not. he's a fucking savage he slipped a note right from under the closet door and gave everyone in the industry a heart attack.

there’s no way in hell those two things following each other so closely was a coincidence he’s a smart beansprout


History doesn’t repeat itself, Gamora, but sometimes it rhymes.

oh man, I said this before but I’ll say it again, I missed this show something fierce and I love it so dang much. It makes me happy every time, even with tense or sad episodes. It’s great and I love it. I hope the next hiatus isn’t nearly as long as this one was.

Okey doke, here are a few thoughts on this block of episodes. I’m just gonna sum up a few thoughts since I’m talking about all 6 rather than each episode separately, but I’ll discuss each ep later if I feel the need to.

1) “Dewey Wins” - this episode sets up the main conflict of the block, which is Steven and Connie’s fight. It’s also the first in a string of upheavals this arc sets up in that Mayor Dewey ends up stepping down and Nanafua is the new mayor. Very curious on how that change is going to play in the plot, ‘cause I reckon Nanafua will be the better mayor to have when the Diamonds figure out Steven is back on Earth (she’s very good at rallying people)

2) “Gemcation” - I reeeeally loved this one! I’ve been dying for a Gem Family-centered episode (in the vein of “Steven Floats”) for a while and this was just what I was looking for. Garnet, Amethyst, Pearl, and Greg all had excellent moments (Garnet awkwardly following a script, Amethyst trying to comfort Steven, “It’s not the pain, it’s the surprise,” and sweet supportive Dad Universe, just as a few examples) in this episode. And I just love when everyone comes together to try and support Steven.

And do not think I didn’t notice that Pearl, like, physically cannot talk about things. As I’m sure a lot of other folks have pointed out by now, this isn’t the first time she’s clapped her hand over her mouth during intense Homeworld talk. The fact that they’re pointing out that it’s more of something preventing her from talking about it (“impossible to describe” in a more literal sense) rather than just her being overcome with emotion tells me we’re getting pretty close to when she will be talking about it.

3) “Raising the Barn” - This was another great episode which I feel very evenly portrayed Lapis and Peridot’s perspectives on what was going on. I like how Peridot has sort of become this Gem advocate for Earth and I think it kind of gives a picture of what early Crystal Gems were like, just discovering Earth and the idea of infinite potential. Peridot is such a goofy, often comedy relief-centered character but she has such genuine heart when she talks about the idea of the Earth and I feel like that aspect really balances out her character.

I do totally get where Lapis is coming from, having lived through a terrible war and been prisoner for so long. She hasn’t quite yet felt part of Earth or the Crystal Gems, she just knows she’s not part of Homeworld anymore. She remembers what happened the last time, how even after such a long fight the Diamond’s corrupted the Gems on Earth rather than let them get away with their revolt. It really does seem like a hopeless fight and without feeling like she belongs on Earth it doesn’t make sense for her to fight a battle she believes they’ll definitely lose and be severely punished for. She does have a connection to Earth, though, and we know she will be back. I look forward to seeing how that happens

4) “Back to the Kindergarten” - This was a nice episode and it was sweet to see Steven and Amethyst trying to cheer Peridot up. I also loved how excited Amethyst is about the Famethyst and how it reframed her context for the Kindergarten from the difficult and depressing place it was for her for so long to more of an optimistic and positive place of “this is where me and my family are from!” sort of thing. I’m glad it could be like that for her.

I like the conclusion in the end, that some things aren’t fixable but that doesn’t mean everything is bad and hopeless. Sometimes you just gotta move on to something that you can work with.

5) “Sadie Killer” - This was another upheaval in that it ends with Sadie quitting the Big Donut, which is a big change for her character. I’m super curious where they end up going with this and how it’s going to play into everything. I also really enjoyed the song!

It’s so fun to see the Cool Kids interact and hang out (with Steven!). They’re all sweet kids and I definitely think it’s good for Steven to have them in his life

6) “Kevin Party” - This was such a Stevonnie episode even though Stevonnie never actually shows up (like, physically, I mean). Kevin was very Keviny in this ep but in such an entertaining way. He had his own interest at heart but he did still help Steven out (I mean, not with the best advice but)
But also I can’t not hear Janja now when Kevin talks, haha

I did like the conclusion to Steven and Connie’s conflict. I like when stuff like this looks at both sides, and that the problem isn’t so much a black and white right or wrong thing, but the idea that you have to think more about how your actions affect others but also that it’s okay to be hurt even if you understand? I dunno, it’s a complicated thing but I think about it a lot. 

I’m curious how this will affect Steven’s matyr complex going forward. He has a real problem with guilt and feeling like he has to atone for stuff his mother did but also has an issue with understanding Rose’s actions and motivations, he just sees that people are upset by it and being caught in the crossfire and he wants to fix it. But, like, a few episodes back he says something like “Homeworld is only attacking Earth because of what Rose did” which is true, but he doesn’t take into account how if Rose didn’t start the Rebellion, there straight up would not be an Earth for Homeworld to be attacking. Something isn’t quite connecting there for him (I do kind of wonder if part of that is from Rose’s own guilt about everything and it’s just kind of leeching into him and preventing him from thinking objectively about it)

I dunno, it’s interesting. I definitely feel like it’ll come into play and be confronted in the episodes to come. I think this incident with Connie, and Connie in general, will play a big part in helping Steven stop punishing himself for the imagines sins of his mother.

Anywho, those are just some quick thoughts on these episodes. I thoroughly enjoyed them, though they could be pretty heavy at times (it’s tough to see Steven so somber for so long!)

hallies--comet  asked:

Is it okay to say in Spanish “ella fue como” as “she was like” and then followed by an approximation of what she said? Or is there another way that is used more to get the point across?

It’s not exactly that. It varies from country to country. Spain says y yo en plan “and I was all like”… more literally that’s “and I in ___ mode” 

I personally go y yo como “and I was all like” though more literally that’s “and me like ___”

The other option is quedarse como “to be left like”, which to me feels like a sudden facial expression but not always.

Y ella en plan claro que no. = And she was all like “of course not” [Spain]

Y ella como claro que no. = And she was like “of course not”

Se quedó como claro que no. = And she was all of course not.

Y puso cara de claro que no. = And she was all “of course not”. [lit. ‘and she put on her face of of course not”]
Y ella se puso claro que no. = And she got all “of course not”.

*Note: Sometimes these involve facial expressions. Like, y yo como (mirada de incredulidad) ¿tú qué crees? “And I was like (look of disbelief), what do you think?”

I’m not totally sure how each country does it, since it’s very informal. I only really know Spain’s en plan for certain. I try to go y yo como “and I was like” because that one feels most universal

But aside from en plan, the others would at least be understood in context. I’m not sure if any other country besides Spain says en plan that way.

More specifically answering your question, I don’t believe you’d be using fue como. I’d personally think era como would make more sense maybe? …To me, fue como feels like imperfect subjunctive would follow next but it’s a whole different sentence like… se fue como si fuera una tormenta “she left like a storm” / “she left as if she were a storm”

I think I’d understand what you meant, but fue como doesn’t feel quite right to me. That might all just be my personal intuition.

You can also say dijo algo como “she said something like”, or decía algo como “she was saying something like” but it’s not quite the same. 

Native speakers any advice/comments?

anonymous asked:

I just keep thinking about the bay or bae choice but like in the context of the choice the beast gives Wirt at the end of over the garden wall. Like the tornado asking to choose between chloe and Arcadia bay and Max just responding with, "that's dumb" and choosing something else that saves everyone lmao

Haha, I’ve never drawn that comparison but that’s amusing. OTGW is one of my favorite stories in general at this point, though. Thinking on all of this led to an informal essay that helps me ground myself in my own mistakes with other fics I’ve worked on, All Wounds’ planning stages, and how I’m approaching its impending ending.

This one’s a bit of a doozie.

(I will be referencing elements of the endings to Over the Garden Wall, Life is Strange, Steins;Gate, and Oxenfree, in case you’re worried about knowing things you don’t yet want to know)

OTGW and LIS are very different stories dealing with very different themes, and OTGW can get away with a blunt and brusque resolution like that because it’s a dark comedy that’s in many ways subverting or teasing a lot of melodramatic tropes. LIS often introduces tropes and then peels back a layer and asks us to look deeper, which is a whole other sort of deal.

The problem, though, is that its own finale and final climax kind of doesn’t hold up, because it hinges upon a choice that really makes no sense – and a moral-oriented choice, at that, which makes it even harder to swallow.

With Wirt and the Beast, there’s a physical character within the world to confront. To call out. To vanquish or scare off or outsmart. Greg’s disposition can be broken apart and he can be released. The entire story is about mystery and, well

OTGW makes no allusions that its story isn’t supposed to quite make sense, it embraces its mystery, and it subverts things by making ‘reality’ a hidden element until the final act.

The story makes it pretty obvious that this world isn’t supposed to make much sense, too, which leads us to not really question things when it doesn’t.

Wirt is the elder brother, he’s supposed to set an example, he’s supposed to look out for his sibling, and he fails.

And while there’s a lot of darkness to this story, it is, ultimately, a comedy, first and foremost, and most resolutions with the various antagonists are resolved with some kind of clever or amusing tactic. It doesn’t want us to take it too seriously, and it’s often making fun of tropes in dramatic fantasy stories.

What’s happening with Max, Chloe, and the tornado isn’t so physical as being lost, as confronting magical beasts. It’s abstract and unexplained, yet the story wants us to take it seriously and tries (weakly) to ‘explain’ things. This falls short because there aren’t really any concrete, established rules, and yet we’re supposed to buy into everything being Max’s fault when we don’t even know how it’s her fault. This is tricky because within the context of the narrative, it makes the player assume the position and perspective the creators wanted:

Max Caulfield is supposed to choose between the greater good, or what she desires as an individual.

The premise of that choice is great, and it’s what the entire game has been foreshadowing and leading up to. The execution is just very iffy to me because of the dodgy attempt at explanation…without explaining anything. ‘Chaos Theory’ literally does not work the way the game alludes to it. The writers know none of this makes sense, which is why in the finale they unfortunately go as bluntly as to make Chloe say:

Keep reading

mangojellyfish mentioned you on a post “no pairing makes me actively want to wash my eyes with acid like…”

@kyoandyuya Selective reading at it’s finest. Ignore the last chapters where he insults her, mentally torture her by genjutsu without her consent, letting her fall in lava,rejects and let her down in front of everyone.You have missed Sasuke’ words where he claims that Naruto is his one and only. Sakura didn’t have any influence in his live till chap699.Your headcanons are nice.

Let me just debunk this rather fast.

Ignore the last chapters where he insults her:

Insult her? Where? He is only saying Sakura is useless against the current situation. He’s right. At that point, only Naruto and Sasuke can stand a chance against Madara.

Kakashi himself got the same treatment, and he acknowledged his own helplessness in that situation.

Yet, why are you only focusing on Sakura?


mentally torture her by genjutsu without her consent 

Context please.

Yeah because Sakura sure looks tortured:

letting her fall in lava 

Dude can’t even let her fall into a bloody ground.

How does him letting her fall into lava making sense in that case?

It doesn’t.

Because he didn’t allow it:

That is why he knows how Kakashi rescued themselves.

rejects and let her down in front of everyone. 

She made him falter:

Reminds him of his family:

You have missed Sasuke’ words where he claims that Naruto is his one and only. 

And you have missed why that happened:

Naruto is the only obstacle left for Sasuke to overcome. All the others are incapacitated (Sakura), killed (Itachi), and leaving everything to Naruto’s hands (Kakashi).

Sakura didn’t have any influence in his live till chap699 

Calls him out:

Guess where Sasuke’s thoughts turn to:

Him remembering his past:

Gets angry when she’s hurt:

She is implied to have been put in a pedestal above the others where he is concerned:

She is the only he ever acknowledges every team 7 reunion and answers only to her when he ignored everyone else including Naruto :

She is the only one he spares from his attack during their first reunion:

The attack made against her is taken as his downfall to true darkness:

No influence indeed.

Your selective reading amuses me.

Mid-formality conjugation (해요체)

Last time, I covered the low-closeness high-formality group of sentence endings that are known as 하십시오체. While useful, it’s not the most useful form if you just want to talk to other people in the most common of daily life scenarios. That honor goes to 해요체!


해요체 is a mid-formality mid-closeness conjugation that is used… pretty much whenever you’re talking to someone you aren’t super close with but don’t want to create too much distance with, and need to maintain some social formality but not excessively so. You are least likely to offend someone using this form, as it is more or less neutral in terms of closeness and formality. If you want to know a bit more about the workings of social formality and closeness in Korean conjugation, you can check out this post and skip down to the “Formality levels” section (and I highly recommend you do so, as it’s very important in Korean society and thus, in the Korean language!). While this form is generally not too problematic, you might offend someone if you use 해요체 with them when you would usually use a different formality level, like suddenly using it with your boss who insists on 하십시오체, or using it with close friends that you would normally use 해체 with.

When using 해요체, using the formal word for “I,” “저,” is your safest option. Sometimes you will hear “나” being used with 해요체, perhaps from a coworker who is older than you (and thus higher in the social hierarchy) but does not use 반말 with you. Especially when just starting to learn Korean, it is safer to use the formal “I” until you develop a better sense for when it is and isn’t acceptable to use it with 해요체. Also, you should refer to others using their name or title and not the informal “너.” You can sometimes also use “당신” for “you,” but it very often sounds awkward, so sticking to names and titles is best.


The conjugation of 해요체, unlike 하십시오체, does not change depending the type of sentence you are making. Rather, the context of the conversation will be enough to let you know if the sentence is declarative (statement), interrogative (question), imperative (command), or propositive (suggestion).

To form 해요체, you take the root of the verb and add either -아요 or -어요 depending on the final vowel of the root. If the final vowel is 아 or 오, add -아요. If the final vowel is anything else, add -어요. For example:

먹다 - 다 -> 먹 + -어요 = 먹어요

  • 민호 씨는 초콜릿을 안 먹어요. (Minho does not eat chocolate.)

좁다 - 다 -> 좁 + -아요 = 좁아요

  • 이 방은 정말 좁아요. (This room is really narrow.)

I don’t plan to really get into irregular conjugations here, but there are some extra rules that you must know to use 해요체 properly. 

First, if the root ends with either 아 or 어, instead of doubling the vowel you just attach the 요, as if the vowel of the root and the vowel of -아요 or -어요 are simply overlapping.

가다 - 다 -> 가 + -아요 = 가요 (NOT 가아요)

  • 저는 학교에 가요. (I go/am going to school.)

서다 - 다 -> 서 + -어요 = 서요 (NOT 서어요)

  • 그 상자 위에 서요. (Stand on top of that box.)

하다 is a bit of a special case. Going by the above rule, it would conjugate to 하요. However, it properly conjugates to 해요.

오늘 뭘 해요? (What are you doing today?)

세빈 씨는 정말 강해요. (Sebin is really strong.)

우리 친구 해요! (Let’s be friends!)

되다 is also special. Going by the regular rule, it would be 되어요. While you might see this sometimes in writing, it is not a form used in speech, and it is often contracted in writing as well. Let’s check it out:

되다 - 다 -> 되 + -어요 = 돼요

  • 이름은 어떻게 돼요? (What is your name? [Lit. How does your name become?])

Yet another special case is 이다. When attached to a noun that ends with a consonant, it is conjugated as -이에요. When the noun ends with a vowel, 이다 becomes -예요. -에요 is NOT a valid conjugation of 이다.

공책이에요. (It’s a notebook.)

강아지예요. (It’s a puppy.)

Other special cases occur with roots ending in the vowels 이, 우, and 오. In these cases, the final vowel merges with the 어 in -어요 (or the 아 in -아요 in the case of roots ending with 오) to make a compound vowel sound. Sometimes you will see them written out in non-compounded format, similar to 돼요/되어요, but understand that such a form is usually reserve only for writing.

시다 - 다 -> 시 + -어요 = 셔요 

  • 맛이 너무 셔요. (The taste is too sour.)

춤을 추다 - 다 = 춤을 추 + -어요 = 춤을 춰요

  • 미나 씨는 춤을 춰요. (Mina dances/Mina is dancing.)

오다 - 다 -> 오 + -아요 = 와요

  • 비가 많이 와요. (It rains a lot/It is raining a lot [Lit. Rain comes a lot].)

NOTE: There is one exception to the above rule—yes, there are a lot of exceptions! This is when you use the honorific infix -(으)시- with your verb (Read more about its usage here!). In that case, the last syllable before you add -아/어요 is 시. Based on the above rule, one would think that the final 시 becomes -셔요. However, it instead becomes -세요

좋아하다 - 다 -> 좋아하 + 시 + -어요 = 좋아하세요

  • 우리 엄마는 꽃을 좋아하세요. (My mom likes flowers.)

앉다 - 다 -> 앉 + 시 + -어요 = 앉으세요

  • 여기 앉으세요. (Please sit here. [-(으)시 is used here to make the command more polite.)

More Examples

We’ve gotten through the conjugation rules for 해요체, including some exceptions. Let’s just check out some more examples using a variety of sentences types.


  • Declarative: 오늘 우체국에 가요. (Today I am going to the post office.)
  • Interrogative: 어디 가요? (Where are you going?)
  • Imperative: 시장에 빨리 가요/가세요. (Go to the market quickly.)
  • Propositive: 학교에 같이 가요. (Let’s go to school together.)


  • Declarative: 저는 채소를 많이 먹어요. (I eat a lot of vegetables.)
  • Interrogative: 고기를 먹어요? (Do you eat meat?)
  • Imperative: 이거 먹어요. (Eat this. [Using the honorific -시- here and creating 먹으세요 would be unusual. Instead, one would use the honorific form of 먹다, 드시다.])
  • Propositive: 이거 먹어요. (Let’s eat this.)


  • Declarative: 그 남자는 축구를 해요. (That man plays soccer/is playing soccer.)
  • Interrogative: 민지 씨는 공부를 해요? (Is Minji studying?)
  • Imperative: 그만 해요/하세요! (Stop doing that!)
  • Propositive: 우리 게임을 해요! (Let’s play games!)


  • Declarative: 이 것을 만지면 안 돼요. (It’s not okay if you touch this thing [More natural translation would be “Don’t touch this thing,” but in Korean, it’s a declarative sentence, not imperative].)
  • Interrogative: 시간이 돼요? (Do you have time?)
  • Imperative: 좋은 하루 되세요. (Have a nice day.)
  • Propositive: 우리 좋은 학생이 돼요! (Let’s become good students!)

꿈을 꾸다

  • Declarative: 에린 씨는 매일 밤 꿈을 꿔요. (Erin dreams every night.)
  • Interrogative: 어떤 꿈을 꿔요? (What kinds of dreams do you have/dream?)
  • Imperative: 돼지 꿈을 꾸세요! (Dream of pigs! [In Korean culture, a dream of pigs is said to indicate wealth.])
  • Propositive: 재미있는 꿈을 꿔요! (Let’s have fun dreams!)

This post was pretty hefty! If you have any questions, feel free to ask. As always, happy studying~


I once read a theory about Garnet’s visor being a tell of who is more “in control” of her at that particular moment and I got curious. So I went looking and it seems like a very plausible theory (though I would phrase it more as who’s personality is more prominent at that particular moment and not who’s “in control”) and I wanted your opinion on it. These are only 8 out of like 30 screenshots I took, but it appears to me that the visor is most often blue when tact is required and also when talk of the future is brought up (or when Garnet appears to be using future vision), and that the visor is most often red/pink when Garnet is angry or is dealing with a subject that’s emotionally-based. What are your opinions on this theory? (And can you phrase it better than I can bc I feel like I’m doing a terrible job of explaining this.)

I get where this theory comes from and in the context of the screenshots it does make sense. My only hesitation calling this “confirmed” is that it dispels the idea that fusions are individuals. It sort of makes it seem as though Garnet is just a big mecha with two little people in the control room. They work together to get it moving but sometimes one coordinates a more complicated move than the other.

Garnet as an individual has a personality, has beliefs, experiences and makes decisions. And I also find it flattening to reduce Sapphire to the “tactful one,” and Ruby to the “emotional one.” So to support this theory supports those implications, and I’m not too fond of said implications.

What I’d be willing to say is that there are times we’re really supposed to see the dichotomy, such as in Keeping It Together when Garnet is really falling apart and her component parts are “showing.” Because when Bismuth tells her, “You’re Ruby is showing,” it’s a joke between friends, but in the context of the other jokes being said (like about Pearl having an owner), the content alone is supposed to be very derogatory and insulting. It’s telling Garnet she’s not a relationship but only two individuals in a beautiful trench coat.

anonymous asked:

Men, women, queer people of the world, here me now! No longer will our stories be limited by such things as plot and context. No longer will artists alone have the power to create without prompt. We shall claim the right! Tell ever writer, reader, fan you know! Mud fiction is here to stay! Reblog this ask and tag the best writers, the best readers, the best people your fandom has to offer! We are free from the tyranny of context!

Ah, shoot. Should I start this train? I have a terrible memory. Followers, please reblog and spread the word about mud fiction.

To remind you: Mud fiction, (short for muddled) is a new type of fiction. It is short, (20-200 words) and is part of a larger plot, but that larger plot is never revealed. It is meant to be taken out of context and the reader will never be told what the plot is, and it does not have to make sense. I’ll write an example.

She woke up, still stuck on top of the ferris wheel. She pulled the lolipop out of her mouth and looked over the dead landscape. At least the tiger hadn’t woken up yet. Now to make a plan.

And there you go. Go make mud fiction. Kill the context.