end of the villain's point of view

So like, I have opinions about how shows should structure themselves. Specifically like adventure-y, action-y shows like the Hundo. It’s built upon my years and years and years of watching shit like Buffy, Farscape, Charmed, Roswell, etc. (Micheal Geurin ILY)

This is basically my Grand Plan for when I inevitably am given a CW show. Inevitably. You know I’m for cereal because I’m going full adult capitalization on this bitch. 

Overall Show Structure

Overview 

First of all, I think a show should know how long it wants to run. There should be an end date in mind rather than letting it just go on forever until it dies in a last, pathetic choke for relevance. Yeah, lookin’ to you SPN. As far as I’m concerned 3, 5, and 7 seasons are the best options for intended length but I think an argument can be made for other choices. 

I’m going to focus on a 5 season structure because it’s the one I think is best from both a story telling and fandom supporting stance. So, lets brush quickly on why I think 3 and 7 seasons are also good options.

3 Season Run

This form of the story is clear, concise and focused. There’s nothing extraneous in a short run like this and I think there’s a lot to be said for clean story telling like this. In a 3 season run season 1 shows us who characters are and what their relationships are; season 2 tests those relationships and asks characters to stretch themselves; season 3 breaks those relationships and the tensions first overcome in season 1 as the tearing points. 

7 Season Run

Telling a story for this long is a big ask. A lot changes in that many seasons and honestly, I think this is the longest possible run before a show loses coherency (crime procedurals can escape this but I think they’re a unique breed). The 7 season show follows the same structure as the 5 season run but the last 2 seasons pull from a dangled bit of information in season 3. This’ll make a little more sense as we dig into my season break down. You’re also almost certainly looking at some pretty big central cast choices by the end of 7 seasons.

5 Season Run

Okay, so my personal favourite, the 5 season run. I think this is the best length for a show of this type, action adventure stories that are ultimately about people. In a 5 season run you build characters, break them down, and let them reform themselves. 5 seasons is enough to really explore the depths of characters with time and focus but not so long that you end up repeating personal stories in clumsy ways.  In broad brush strokes seasons 1 and 2 set up who are characters are and what their relationships will be; season 3 picks away and their sense of self and leaves them at their lowest point in it’s finale; seasons 4 and 5 build them back up, reaffirm who they are and why it is that they’re doing this. 

Season By Season Breakdown 

Season 1

A good first season is a hard one. You need a small, tight story with small, personal stakes. This is where you set up the core of your show (hopefully the central cast that will carry all the way to the end of your run) and tell us who we’re rooting for. We’re given 3 or 4 characters who are going to be at the heart of our show and we need to learn who they are. It’s important that they have interpersonal tension and that by the end of the season they have a stable, working relationship.

This is also when you want to keep the stakes low. No one saves the world in the first season. Where do you go from there? The first season is about personal danger and personal stakes. We shouldn’t even meet the real antagonist this season. Our plucky heroes duke it out with lackies and maybe a lieutenant, a second or third in command. We hear about but never meet the Big Bad. The season ends with the  heroes defeating the small scale. For Buffy that was overcoming a prophecy of her own death. For the Hundo that was repelling an attacking force from their home. Small scale, personal. It shows us who our characters are but doesn’t ask to much of them.

Season 2

All those relationships we set up in season 1 are going to be tested. We’re going to meet the Big Bad who was calling the shots last season and we’re going to take a swing at them. But season 2 also leads directly from season 1, maybe there’s a time jump but it’s short. Maybe there’s a new direction but it is born out of the ashes of the season 1 finale hook.  

Our core group expands, they stretch their wings and test what their relationships do under the stress of higher odds. Season 2 feels pressure on a bigger scale, the core group aren’t the only ones at stake now. Maybe it’s family and friends, or their town. The Big Bad has seen that they really are a threat and is playing for keeps. In a fatal show we should suffer a loss that hurts in the final episodes. There is a victory but it’s not without it’s losses 

Season 3

We get a departure from our first two seasons. Season 3 can take a time jump, it doesn’t have to fall directly on the heels of the second season. But something late in season 1 comes back up. A good way to play this is to take the antagonist from a two episode arch shortly before the conclusion of season 1 and make them a big deal. This is a good time to make the antagonist here someone with whom the Big Bad in the first two seasons had their own tension with. The heroes do this antagonist a favour when they take out the Big Bad but it proves that they’re a force to be reckoned with. 

This is a good season to narrow down, break a couple of those relationships. Swinging at the Big Bad last season cost our heroes something. In season 3 we know that heroes don’t have plot armor, the Good Guys don’t always walk away. The loss of a friend and the knowledge that this probably wont be the last loss weighs heavily on our heroes. They handle it differently and it starts to rupture the fabric of the group. Tension in the season is born of a question of how or if our group will stick together.

This is a good season to have one of our heroes play on the dark side a little. Maybe our new antagonist isn’t totally wrong about the way they view the world. 

The end of this season should see this antagonist dead and our heroes tentatively recommitted to the cause. A Pyrrhic victory at the conclusion of this season can make sure our heroes don’t want those deaths to be in vain. 

Season 4

At some point in first half of the first season a lacky  mentioned some Ultimate Villain that our first Big Bad was afraid of. Yeah, that mother fucker is back in the game. Or heroes are only tentatively recommitted to the cause, they’re as dark as we’ve ever seen them and they’re not all comfortable with the things they’ve done to get here. So season 4 is going to make them earn it. This is a season where they’re asked to prove that they are hero types, to make hard calls, to stretch themselves. 

But we also get victories. Someone they helped in the first or second season comes back as a guest star, is involved in their lives in a positive way because they helped them. This is where we get to see our heroes really commit, really see that they’re a force for good.

At the end of season 4 the Ultimate Villain isn’t defeated but they know what they have to do. They have achieved the first half of defeating this villain, maybe it’s securing a Magic Item, or a certain location, maybe it’s just figuring out who the fuck the villain actually is and what that means. But at the end of season 4 our heroes are poised to take their step at the Ultimate Villain. This is where we have our “I aim to misbehave” speech. Going into the fifth season our heroes are hard, are focused, and are ready to take no prisoners. 

Season 5

We should get a victory march. Season 5 should be an absolutely adoring ode to why we love these characters. It shouldn’t be easy for them, hell no. It should cost. We need one of the core group to die, absolutely. And die senselessly, die because the group make a stupid arrogant call because they’re the Heroes and they forgot what that can cost. Season 5 should pull away the arrogance that they learned in seasons 2, 3 and 4. By the end of season 5 they defeat the Ultimate Villain and walk out on top, but they do it by being the characters we first meet, the best versions of themselves. They have had all their rough edges buffed away by seasons of hardship and then they have the arrogance that winning gave them kicked out by hard, aching losses. But at the end of the finale the surviving cast should be their best selves, alive and well because they were the people that their friends could count on and because their relationships have helped make them the best they can be. 

So. Yeah. Someone give me a show. 

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Told from four alternating points of view, the story recasts a classic tale of kidnapped maidens and brave knights, strange guides and terrible villains, in a modern and notably queer light, with a promised happy ending.”


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nerd-most-likely  asked:

So I'm writing a novel. You know how it's just best to poop out the first draft basically ASAP? Well I'm writing and now that I'm getting to the end of it, somehow I find out much to my own damn surprise that it's actually in first person of this prophet who's fault it basically is for every ounce of the problems protagonist and crew have had. I've been writing in what I guess was assuming it was third person. Is this weird? Or do I need to go back and rewrite at what was a 3 am sleep drunk?

Isn’t writing fun? 

This is not weird at all. In fact, it’s completely normal. I’ve been working on my novel for a good three years now, and my current antagonists used to be the good guys. And my former antagonist became a good guy, and then became ambiguous, and then kind of became a bad guy again. Obviously things can change drastically as you’re writing a novel. 

But sometimes you just gotta roll with these punches and find intrigue in it. Our creativity ebbs and flows, and it’ll go in directions we don’t expect. One way I find enjoyment in it is being able to look back at where I started and see how far I’ve come. The journey our stories go through act like journals of our writing progress, without us actually having to journal. Won’t it be fun in years ahead to look back and see where your story began?

I don’t think you have to rewrite something just because it didn’t turn out how you expected. But you may have to take the time and see if you “come to your senses” or if this new direction is in fact the new direction. Was it a temporary moment of sleep-deprived insanity? Or was it a new idea germinating, only needing some encouragement from you to grow?

Considering you asked this question several weeks back (my apologies), I’m sure you might know by now how you feel about it. Who do you think the protagonist is? The prophet? Or the ones the prophet is causing problems for? What’s more, are you dealing with an “evil protagonist,” or do you think the motives or your prophet have changed to the point where this character is not the evil one, but the other characters are

In my little personal story up above, I mentioned that my antagonists changed throughout my writing, and this was a result of my exploring their motives more. Originally, they were simply background support for the protagonist. When I thought about why they were helping my characters stop the antagonist, it all came across as really self serving, and a lightbulb hit me late at night and I took their self serving motives and actually made them into malicious motives. And a new antagonist was born. And they were far more interesting as an antagonist than as background support for the protagonist. It was a huge change, but it excited me, so I went with it. 

So @nerd-most-likely, I think you should evaluate the motives of your characters to see what it is they really want. Once you can clearly state what each side wants, try to figure out how those wants affect the other side, and then further, what they will do about it. For example, what does the prophet want? And how exactly do those wants create chaos for your other characters? You alluded to it a LOT of chaos for those other characters, but was it intentional? What is the prophet going to do it about now? Try to help them, or continue to create more problems? 

Once you have that detailed out, look at it from the other perspective. What do those other characters want? In this case, solving all the chaos the prophet created could be part of it, and in achieving that goal of solving the chaos, is the prophet affected? Do they have to “defeat” the prophet to resolve the problems? 

Through this process, you might discover that both sides are truly at odds with each other. One side needs the other to fail in order to succeed. <<When this becomes true of your story, you’ve defined a protagonist/antagonist dynamic. Now you just have to decide which is which.

There’s potentially two stories you can tell here. The prophet’s story, and how the other characters’ actions affect that story; and the story of the characters, and how the prophet’s actions affect that story. You get to decide which one appeals to you more. Regardless of who the “evil” one is, you get to choose whose story sounds most fascinating. Even if the prophet is the one in the wrong, that story could be the better story. There’s no rule that says you can’t write stories from the perspective of the villains. You might even decide to write from both perspectives, so readers see both sides of the story and have to decide for themselves whose side they’re going to take in the end. 

As far as point of view goes, switch to first person if that feels more comfortable for you. I’m a huge advocate of staying in your comfort zone with point of view, and only challenging yourself if it’s something you want to do. It’s unusual for a story to use both first and third person perspectives, but it’s not non-existent. Storytelling is about experimentation, so experiment! 

I hope this was helpful! You are certainly not alone in dealing with drastic story changes as you’re writing. As frustrating as it can be to back track and change things you’ve already written, it’s also kind of cool to see the way our creativity…creates things. It’s not instantaneous - it’s a process that requires patience, and sometimes you have to put the pause button on “focus” because the attention span of creativity can be next to nothing. 

So just go with it! Good luck with your story :)

-Rebekah

the-girl-wh0-waited  asked:

So, I got an ask today asking me what I would do if I was a PLL writer. So, now I'm interested in other people's ideas. If you were a PLL writer what would happen? (storylines, deaths, etc) What would you make different?

I love this question!! I don’t have an idea of what the whole storyline would be but my storyline would differ like this:

  • Aria is Uber A: This was the first theory that I really fell in love with. I love the idea of one of the 4 main girls being twisted enough to torture themselves and their friends. This type of betrayal is right up my alley! I don’t know what her back story would be, though.
  • Ezria playing the game together: I loved Ezra’s story arc in season 4 and Ian played that evil side of him so well and I can only imagine how insane he would be if he were the villain of the show.
  • Extending the doll house storyline: The writers had the potential to make this storyline incredible but instead they rushed it in two episodes. I would have a decent amount of episodes taking place in the doll house and I would also show all the torturous things -A did to the girls (without any boundaries!).
  • Include a Halloween episode in every season: These were some of my favourite episodes of the whole series. I’m still upset that season 4′s was the last one. I would include these in all seasons because it makes the gap between each season more bearable.
  • More mystery, way less romance!
  • Reveal A to the audience before the girls find out: I loved the way the show did this with the Toby and Ezra reveal. It made every single scene with these two characters exciting from that point on so I would do this with the ultimate reveal and not advertise it so it completely shocks and surprises people (but there would be a catch with that reveal! which I explain further down).
  • Kill one of the main 4 girls once they get too close to figuring out the truth: I would have this episode a couple episodes earlier than the finale. This would set the tone for a finale that I would make absolutely terrifying.
  • Have the villian win: I don’t know how this could be pulled off, but I would love it if there was a way to change the way people see the show after the finale in a daring and shocking way. I would love it if Aria double crossed Ezra and he goes to jail. The audience thinks all is well until the camera takes them to Aria with an evil smirk in her lair and there is an internal monologue explaining what she did. People then realise they had been wrong about Uber A.
  • Include an episode from -A point of view and see how and WHY they did everything. I think this would work if the villain wins in the end and this could be a bonus episode after the finale?

I have no idea if all this would even work in a storyline but I find them very interesting lol! Overall, I would make the tone of the show much, much darker.

Sorry for answering this late. :( I wanted to think about the question for a while before answering it!

anonymous asked:

Ohhh man I am in LOVE with your RevelationAU where both twins are alive.. If you have time or want to explore it more PLEASE consider drawing / writing about it bc it's SO GOOD.. Anankos Corrin.. and Xander standing up for him.. bless you

Ahhhh, Anon ;w; I’m super happy you find it interesting! There are more drawings from the same scenario - I just have to find the time to finish them all ;o; Here’s a little summary of the AU:

Corrin = Male twin

Kamui = Female twin

Corrin is raised in Nohr with the full knowledge that Anankos is his father and that he is currently possessing Garon. Due to this, he is not confined to the Northern Fortress , but performs his duties much in the same way as Xander. Instead of suppressing his draconic tendencies, Garon!Anankos greatly encourages him to use his dragon form regularly, to learn to control it.

He loves his Nohrian family very much, and it’s eating him up inside that he’s essentially betraying them by keeping it a secret that Anankos has possessed their father. However, with Anankos constantly filling his head with his version of the truth and promises of how they’re all going to be a family, Corrin decides that it’ll all work out in the end. They’ll all be happy somehow - wishful thinking, I know.

Unlike game!Corrin, he knows perfectly well that Mikoto is his mother. The truth, according to Anankos, is that Mikoto was the one who kidnapped him in the first place - he simply took him back. Killing Sumeragi was simply a part of the process. Believing his father, Corrin is extremely bitter about being parted from his twin.

It would take ages to type out what happens throughout the game, but to make a long story short:

The Nohrian siblings discover that their father is pretty much dead. Knowing that Garon is little more than a meat puppet controlled by some monstrosity, Xander confronts Garon!Anankos and is is ultimately imprisoned for it, along with Camilla, Leo and Elise.

Guilt-ridden and very aware that his siblings are in grave danger, Corrin defies Anankos and sets them free, enabling them to flee to Izumo. When the Nohrian siblings arrive, they’re surprised to find that the Hoshido family is already there. One thing leads to another, resulting in a tentative truce, and eventually an alliance.

After that, the AU is pretty much like the game itself, only with Corrin as a reluctant antagonist. Every time he and Gunter runs into them, Corrin tries to convince his Nohrian family to rejoin them. He obsesses over them becoming a family again - including Kamui. When they refuse him, knowing that Anankos is likely to kill them the moment they set foot in Nohr, he resorts to force, believing it’s for their own good. He grows more and more indoctrinated as Anankos exercises his magical hold on him, causing him to become increasingly mentally frayed.

In the end, Corrin is one of the gatekeepers, along with Sumeragi and Mikoto.The only difference is that Corrin is still alive and just barely hanging onto his sanity.

From here on, there are two outcomes

Outcome 1:

For the good outcome, the Nohr/Hoshido families all need to have either A or S supports. This will cause the Hoshido family to see Corrin from the Nohrian family’s point of view - as a victim, rather than a villain. The fight will result in a gravely injured Corrin, which is then healed by both Elise and Sakura - causing him to survive.

Outcome 2:

If the characters haven’t reached support level A or S, Corrin will die

And that’s pretty much it, Anon ( ´ ▽ ` )ノ There a ton of details I didn’t include, and it’s probably riddled with plot holes ( ◞・౪・) But that’s the gist of it!

anonymous asked:

I just wanted to say that I think at this point in time, BatCat have matured in their relationship with each other. Batman has had many loves, some greater than others, but to be honest, regardless of the era, timeline, or medium; him and Catwoman have been through the most with each other, good and bad, fighting and flirting, friends, allies, lovers, villains, they have ran the whole gamut and still have ended up with each other in their lives. And I think Rebirth has shown that. Thoughts?

I think the best way to view the relationship is how many times it has had to reboot itself and yet they still find themselves together. Let’s go through the history:

In the Golden Age, they ultimately married each other and gave birth to Helena Wayne. Even though it was Earth 2, it still says a lot that their relationship evolved the way it did. DC easily could have married Bruce to Vicki Vale, or Silver St. Cloud, but they chose Selina as his bride.

In the Bronze Age, their relationship started as what we are used to: flirtation and fighting. It then morphed into a partnership where they worked together fighting crime and then became more romantic. There were many instances where the word ‘love’ was used and more often than not, it was Bruce who felt that way.

With the Modern Age (post-Crisis) came another reboot and Batman started over again. Even with the changed back stories, Selina was front and centre. As before, we had the fighting and flirting, but the Hush story arc truly cemented their relationship. Now Selina was a key part of Bruce’s life and even though they were still at arm’s length, the love between them was quite obvious.

Then the New 52 came around. I guess you could say they got the physical relationship part right…well, maybe not. Let’s move on and forget it happened.

Now we have Rebirth and I am quite happy with what they’ve provided (well, aspects at least). In some ways, the Rooftops story arc was blatant pandering to the Bat/Cat shippers. And I am totally OK with that because that’s the way it should be. We saw the same fighting and flirting as before, but now we were able to see them profess their love to each other verbally and consummate it physically. If you think about it, essentially two whole issues were devoted to how much they love each other. That is a big statement.

Taking all this history into account, I find it interesting that no matter how much the continuity may change, Bat and Cat still find themselves together (in some form or another). When you think about the various other women in Bruce’s life, you cannot really compare any of them to Selina. No one else could ever understand Bruce the was she does. And, I don’t think anyone knows Selina the way he does. They have major differences in personality, but that is what makes them so right for each other. 

I will end this by referring back to the letters between Bruce and Selina in Rebirth: 

“It’s why, in some ways, we work. It’s why we work together, I mean. Why when we kiss…When we kiss, the pain goes away.”

“And when we’re free, Cat, we’ll put on our masks. And together, finally, we’ll laugh and laugh and laugh.”

anonymous asked:

Hey there! I'm building a world with two major classes -- witches (with actual magic) who run the place, and non-witches (ie no magic) who wind up doing most of the labor. How can I showcase the class tension between the two? Are there any ways to showcase the tension without making my ruling class look like bad guys? Thanksees!!

Anywhere you have differences, you will find tensions. Race, gender, religion, sexuality -all of these cause tensions from arguments and insults to wars and massacres. Class is no different.

Permit me, for a moment, to drag out some Marxist theory. The fundamental idea here is that the working class -the ‘proletariat’- are oppressed by the upper classes -the ‘bourgeoisie’- who own the means of production (factories, banks etc.). Marxists believe that the working class need to realise this and rise up in revolution to overthrow the bourgeoisie and take over the means of production for the benefit of all. All this stems from the idea that the upper classes are oppressing the working class for their own gain. So, some theorists, particularly Marxists, would suggest that you can’t have a ruling class without them being bad guys, because they are inherently oppressing other people.

It could also be seen as irresponsible to represent the ruling class as not being ‘bad guys’ in this sense. Imagine, for example, someone was asking how to make a white ruling class not look like bad guys for oppressing PoC, or a straight ruling class oppressing LGBTQIA people still appear like good people. It isn’t the role of this blog to educate on these matters, and there are a lot of great resources here on tumblr if you wish to explore those particular issues. I just want to make it explicitly clear that in many countries class is a social issue comparable to race and sexuality in the fervour and seriousness of the feelings in the debate. If witches vs non-witches is an allegory for current socio-economic class relations, Mod Galbraith would like to suggest that you tread carefully.

Now I’ve gotten that downer out of the way, let’s see if I can actually help out with what you came here for. Class tension can be exhibited in lots of ways, and -fairly or not- can be seen as going both ways (though note that the oppression only goes one way). Examples of tension include:

  • Name-calling: chavs, hood rats, ghetto, yobbos, white trash etc. are all slang used to denigrate and separate out people of typically lower socio-economic backgrounds. Likewise, snob, posh twat, prig and many other unprintable variations are used to mock and insult the upper classes. Magical/non-magic names can be a great way to showcase this, even if the names are less offensive than real world ones to keep your class divide a bit more civil
  • Accent: accents are a great way to separate out people from different backgrounds just by listening to them. As well as slang, someone’s accent can quickly be used to place their background and make judgements -whether accurate or not- about their personality. Even if your characters are from the same region, such as London, there’s a world of difference between a Cockney and an RP (received pronunciation -think Queen’s English) accent.
  • Segregation of living areas, jobs etc: anything from past segregation leading to the separation of races into different areas in US cities to house prices forcing poorer, lower class families out of an area can lead to class divisions by living area. Likewise with jobs, a non-magical person isn’t going to be able to take up a magic-reliant job, and may even be barred from government or police jobs by prejudice about their abilities/background.
  • Different social circles: witches and non-witches not typically associating each other can be quickly showcased the first time two characters from the two different groups interact. How are they supposed to say hello? Shake hands or kiss cheeks? Will they find that joke funny? Should I wear my amulets or take them off? Insecurity on the part of one or both characters can be very revealing of the differences between them without the need for aggression or anger. Then there’s friendship groups: does your witch have any non-magical friends?
  • Different political parties representing each group: this can be seen in the real world in the UK and many other countries. The UK has the Labour party which was set up to be the working man’s party, and the Conservatives who are traditionally seen as the party of the upper classes (please no-one come and argue about who these parties represent etc. etc., I know there’s a lot of dispute about this but I’m speaking historically on purpose here :). Witches and non-witches may end up with two different parties representing them in government, with each group broadly voting for ‘their’ party
  • Protests: if you don’t want your witches to look like the bad guys, I’d stay away from protests. Nevertheless, class tensions often lead to protest, and on occasion to a full revolution (which probably makes Marx happy). This depends on to what extent your witches are ‘running the place’ and how happy your non-witches are to accept this status quo. 

Playing with point of view may help you to dissipate a potential ‘bad guy’ image. There’s a saying along the lines of “the villain doesn’t see himself as the bad guy,” and that rationality can be extended to groups of people as well. If your story is told from the PoV of one witch and one non-witch, their perceptions of their own class and reality may balance out the ‘bad guy/good guy’ dynamic while still illustrating tensions.

Another way to show tensions is through communication culture clashes. What one class may find normal and polite, the other class may find rude or awkward which may lead to further tensions between individuals and classes. For example, in some cultures, it is common to kiss as a greeting, even if it is with someone they first met. For someone coming from a culture where this is not common, it may create a moment of discomfort and confusion, especially if they did not have prior knowledge of this cultural aspect. In this way, neither party is necessarily good or bad, they are just different in ways that have the potential to cause friction. So for your witches, maybe they have a magical signature that they automatically exchange upon greeting someone, which would exclude the non-witches and create a moment of ‘oh no what do I do now?’ moment for both parties when they first meet.

Tl;dr be careful when playing with class divisions. Too little and it could be insensitive, too much and it could take over your story. There’s hopefully a lot here for you to work with and adapt to your needs, so good luck with all your writing!

anonymous asked:

While lots of cutscenes in TOZ seems clumsily executed I wouldn't call those particular elements plot holes. Tales of Zestiria is a game that ask the players to put the pieces together by themselves and a game that was meant to break general game patterns, like they did by making people think Alisha was the heroine to have the story destroy that possibility (yes I hardly think the promotion was a mistake) /1

For the Dezel backstory, I personally fail to understand how so many people were confused by it. Yes the sequence was weirdly executed but the informations were clear. Dezel says it himself, while he was happy for his companions he didn’t want their journey to end. Contradiction calls malevolence. His blessing became a curse. /2

 I agree the lack of backstory and motive for maltran is frustrating (though there is a little sidequest about her in lastonbell). But this is Sorey’s story we only see things from his point of view and he could not magically find all informations and go out of his way to search Maltran’s backstory. Malevolent people exists. You can’t know everyone stories and reasons. /3

Frustrating for a video game where villains tend to love explaining their tragic backstory while the party agonize on the floor but actually extremely realistic. And that what what TOZ was aiming for. Breaking games stereotypes. /4

About Michael now. I admit this one took me a moment to underdstand, he gave up on his mission as a shepherd, therefore probably didn’t think himself worthy to be included story in the book. /5

And finally Heldalf. Once again TOZ is the weird one of the saga, because that was its purpose. Breaking the saga rules to offer something different for the 20th tales anniversary. So yes Heldalf may feel absent and not quite the classical tales vilain but his treatment is coherent. Heldalf is a desperate lonely sad old man who did not became the main villain by choice. His actions are contradictory. /6

Either he gets in your way to taunt you in killing him finally putting him to peace and unleash the end of the word, either he tries to recruit Sorey to have a companion (thanks to Alisha’s dlc to clarify the obvious and making Rose, Lailah and Edna look dumb) But he can’t have a real one because of his curse. Certainly why he doesn’t seem to care for Symonne. If we look at Heldalf like that I find his absentee consistent. /7

He wasn’t supposed to become Sorey’s arch enemy and more screentime could have change his purpose in the story. I don’t mean to say Tales of Zestiria is a perfect game. A lot of things in it are frustrating. But if we try to look at it for what it was supposed to be a lot of choices make sense. Still frustrating, but coherent. /8

Answer behind cut to save a dash …

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anonymous asked:

I think at this point, they should work on making Selina the main love interest for Bruce/Batman. Clear her name up in the current run, have her actively helping Bats on missions WHILE she is actively protecting the East End from criminals, villains & traffickers. They can also have scenes in the comics scenes where they are expressing their love for each other AND have her start to get along more with Damian & Batgirl. No more she's a villain/she's not a villain nonsense. It's tiring now.

Obviously, I have a biased view when it comes to this so I am complete agreement with you. One thing to remember is there was a precedent for this during the Brubaker run - and it was successful. Catwoman has a strong fan base and I believe they would be more than happy to go back to the days when she was the defender of the East End.

I also believe that her character does not really have to change. Selina does not need to play by the same rules as Batman in order to be a hero. She is at her best when she exists in that field of grey. That is one of the reasons why Selina and Bruce connect the way that they do.

The Bronze Age relationship is what DC should return to. Bat and Cat working together and an ever growing romance. In many ways, Selina is already part of the Bat family so just make it official. I want to see stories where she works together with Batman, puts him in his place in the way only SHE can and more gratuitous “meetings’ on the rooftops. Let’s all be honest, Selina is the most interesting and most passionate love of Bruce’s life - make it happen DC. 

But my dude my friend my pal you see my problem, my biggest problem, with the Naruto ending is the complete lack of change in regards to the shinobi system and the way Sasuke was treated there after.

-Children are still being trained as child soldiers, which means this is not a time of peace. I know it’s unreasonable to think that every village would have no ninja but at least raise the age level requirement for admittance to the ninja academy? Like instead of tossing practically toddlers together and teaching them how to murder each other raise the age limit to 16? 18? Make them old enough so that they at least get a childhood and are old enough to be able to form coherent opinions on things for themselves instead of swallowing whatever “will of fire” bullshit is fed to them.

-Smaller villages still lack representation in things such as the Kage meetings and the Chuunin exams which is one of the main reasons the Akatsuki was formed in the first place.

-There was never any indication as to whether or not the Hyuga stopped using the forehead seals that enslaved the side branch. In fact clan oppression was never addressed at all. The people who spoke out against it and actively worked to change it were Neji Hyuga, Sasuke Uchiha, Haku, Pein, Obito Uchiha, Madara Uchiha, and Konan. Six of the seven listed above were murdered. Three of them are Uchihas. Six were all, at some point, viewed as villains by the narrative.

-Neji, who had been bitter about his destiny to die for the main branch just as his father was forced to do before finally beginning to believe that destiny and fate could change and that he didn’t have to throw his life at the feet of his cousins, ended up not only accepting the fact that his destiny would be to die for the main branch but died protecting Hinata as she tried to protect Naruto. This could have been avoided if Hinata had, I don’t know, used her clan’s technique of protective tri palms. Or at least summoned clones to take the blows.

-Sasuke wanted justice for his clan’s genocide at the hands of the Third. The Third threatened Itachi with emotional blackmail, saying that Sasuke would die if he didn’t do this. Itachi was already mentally traumatized and could see no other option. Sasuke wanted vengeance for the death of his family. First he was going solely after Itachi, but Konoha ninja had to chase him anyway even when he said his mission had nothing to do with them. Then he turned his sights on the village and the five kages, wanting to try them for war crimes that they very truly committed. But after being forced to give up on his desire for justice by Naruto and forced into silence by Kakashi he left and never looked back. Thank god for that.

-Obito was thought to have been murdered as a twelve year old child. Let that sink in. Obito Uchiha was thought to have been murdered as a child. He lived with the desire to create a dream world where nothing like what happened to him or Rin would ever happen again.

-Madara was initial supposed to be the Hokage but because Hashirama turned into a chicken shit and let Tobirama, who would later go on to oppress the Uchiha to the point where they were isolated and hated by the village, convince him to hold an election that Tobirama knew Hashirama would win. After Madara tried to warn his remaining clan members only to be ignored he left on his own and was seen as a villain for it.

-Haku was abandoned and abused by his village because of his bloodline ability, something that is never addressed again.

-Pein and Konan were children that, once again, were forced into war and suffered for it.

-Sasuke is supposedly treated as another Kage but there is a very big difference; he doesn’t hold the political power of one. Sasuke can’t change the system that failed his family and left him to grow up abandoned and alone as a child. Sasuke can’t fix the system that oppress clans like his everyday. Sasuke can’t put systems in place to protect people with bloodline abilities. Sasuke can’t stop things like what Danzo did with his family’s eyes and Root from ever happening again. All of these problems fell to Naruto to fix.

-And Naruto failed to change a single thing.

So listen friend I have problems with the ships but I have much bigger problems with the fact that nothing is ever addressed beyond “And now there’s peace.”

anonymous asked:

How would Dabi act if he had a girlfriend? Hcs

  • If you are a villain, both of you would go out on missions together and team up, he’ll always make sure you’re by his side and if someone manages to hurt you  in any way, then well let’s just say hell is nothing compared to what Dabi is going to end up doing to that person.
  • If you’re a hero or a student at U.A, Dabi will try to convince you to see his cause, his point of view although he tries to deny the fact that you’re a hero, he will also try to make you join the League of Villains. During a battle Dabi won’t hurt you but he’ll hurt the ones that are trying to help you.
  • If you’re not a villain nor a hero, then Dabi is going to try to convince Tomura to kidnap you because your quirk can be useful to the league of villains.
  • Dabi is usually laid back but there are times when acts different around you, he’s gentler. Dabi, doesn’t mind affection that much, lazily he’ll return the affection towards you and he doesn’t mind being the little spoon or the big spoon.
  • Dabi can be very overprotective over you, he’ll leave hickies where he knows they’re visible so that way they know that you’re his and he also prefers inside dates to outside because it’s way to crowded outside and also expect walks at night, he loves walking at night when there’s no a single soul out there.

-Admin Lizzie

Top 5 Final Fantasy Antagonists

It’s not like I have 3 fics to finish 2 of them with deadlines, nor like I am facing a mayhem of time chaos, or that I have the basic human need to sleep, nope. Let’s just find something else to spend time on. So here we are.

Because this will feature spoilers related to FFXV under a cut at the end, I have to do this now. Tags! Please, I tag everyone that wants to do this, and all I ask is that you mention me in the post @hannibalcatharsis-zero because I want to read people’s opinions, thoughts, biases, whatever, on your top favorite FF antagonists. You don’t have to make it as lengthy as I did, but I do talk a lot.
If I may, I’d like to directly tag @lvl99fangirl @adrastia @fujoshilyfe @datamarluxia @haeng-syo-peace@dancing-aqua@allowthisfam​ if you want to, simply because I’ve exchanged some words with you before.

Enough endless intro, on to the huge post.

Runner ups:

- Rufus Shinra (Compilation FFVII)

A rare case in FF, he’s neither an experiment, hybrid of some sort, madman or blessed/cursed with some awesome powers. 

This guy is entirely and purely human and therefore is all the more cold heartedness, lust for power, intellect and cunning. Seeing him the first time in Advent Children was one thing, but going back and seeing the stuff he did in FFVII? Even before that? Man, Papa Shinra wasn’t a nice man at all, but apples don’t fall far from the tree and the prodigal son sure as hell did some bad stuff and planned worse. And tried to kill dad more often than his other two brothers did just to rule in his stead even more ruthlessly than the old man. 

Good thing it just took a damn WEAPON firing, explosion and near death experience, Meteor falling and Geostigma to make him consider atoning.

I actually want to see him on the FFVII remake more than anything else really. Full HD Rufus on the prime of his full power-mad and evil persona? Damn.


- Kadaj, Yazoo & Loz (Compilation FFVII) - specially Kadaj

Originally posted by petite-princee

Originally posted by shinysnivy

I love Sephiroth’s Remnants, particularly Kadaj. They’re all so childish (including Yazoo!), which I find rather interesting when you know they’re parts of Sephiroth. Shoutaro Morikubo’s voice acting was beautiful and really built Kadaj’s threatening and deadly persona, while having the feeling of mean but lost child you kinda want to hug. Or would want to, if he wouldn’t likely kidnap your children, torture and kill you.


- Snow Villiers (Lightning Returns Final Fantasy XIII)

Yes, I know he’s not a real antagonist (not for long anyway), but look at him. He needs to be mentioned just because look at him.  

Holy shit.


–My top 5 favorite antagonists–

(not in order of preference!)

- Sephiroth (Compilation FFVII)

Originally posted by xsephiroth

Sephiroth is the name even non-FF fans know of. You have to give to a character when they create such a huge impact overall.

He is visually striking. When he did get voice acting, his voice is memorable (the Japanese one more, but the English isn’t bad either). His theme is memorable. He commited one of the most unexpected and memorable main-character murders in games specially as of 1997, and for that reason remained engarved in gaming history. He overall has all the immediate aspects to make him memorable.

The fallen hero that became a villain instead when he loses his mind after finding about (and missinterpretating) his origins as a genetical experiment. Personally, seeing his downfall in Crisis Core made me all the more fascinated with him. I grew to like him a lot more after seeing that, the change that happened to him. How awesome was Sephiroth, seriously? He was kind. Funny even. Man, Hojo is one of the most truly evil characters in the wholeout FF franchise.

The only one with shitty father (the worst) who DIDN’T kill him! Man, seriously, Rufus tried, Genesis did, so did Seymour. Seriously Sephiroth, why didn’t you kill Hojo.

Crisis Core is excellent overall. One of the saddest games.

I honestly don’t know how to exactly pinpoint what makes me like Sephiroth so much.

But the music helped too.
EVERYONE that knew me in 2006-2010 knew this song. I made sure of it.



- Genesis Rhapsodos (Crisis Core/Compilation FFVII)

Originally posted by caerberus

Genesis doesn’t really get a lot of love, and I can’t really blame long-time fans in particular. But personally, I find it a shame.
It does help, I think, that I don’t take Crisis Core in its English version. The whole FFVII universe exists in my head in its Japanese format, I’m sorry to the voice actors of the Eng sub. Gackt’s voice is Genesis’s (well, that’s the point really. He is a lot more irritating in English.

I love everything about this guy. I love the melancholia he lived in, the search for purpose/understanding through parallels, the obssession and obssessive persona he created, the search for friends of equal worth, the utter self hatred, the madness he fell into.
Genesis is tragic.

And the just little (little) stabs and just friendly twists of the knife on Sephiroth’s psyche “We’re all monsters, I’m a monster, but you’re the worst of all. You’re the defination of monster, you know? But hey, I want you to be my friend, help me out :) “

I find it a huge tragedy that he outlives so many people when he didn’t plan to.


- Seymour Guado (FFX)

Originally posted by datamarluxia

My love for this guy exceeds my argumentation ability.

The nihilist even before I knew what nihilism was. I for one never minded his English voice, which in later years I found that people had a quirk against. One of the things I appreciated was to see him fall to madness and how it reflected in his voice turning fiend-ish. I like that he’s the counterpart/parallel of Yuna and how she turned her goal into preserving life and overcoming pain while he decided to end life to end pain.
With the life he lived, you can hardly NOT understand why he sees the world like that. Ostracized for being half-Human half-Guado when obviously he had no fault on that; his father who DID have a part on that shipped him away with his mother arguably for their protection; his mother commiting second-hand suicide to help him gain public appeal against him literally crying for her not to (I wonder why he would prefer his mother alive, huh? I still love those memories in Zanarkand Ruins so much); finally being accepted because he fucking exceeds at magic and has the most powerful Dark Aeon one can have only to see the utter corruption of the world and the religious-political regime that ends up confirming and preaching what he knows from experience - life is about suffering and will ever be.
Yeah.

And he’s the definition of ‘doesn’t die’ (Sephiroth too). I mean, you KILL him at 30% of the game, and he literally returns more than to haunt you :) that’s 4 fucking fights, and overall most people can agree that Seymour Flux was one of the hardest storyline boss fights in the franchise. Many tears were shed under countless hours of attempts only to be crushed each time under Total Annhilation attack.

Besides, not many antagonists include in their plans literally marrying the protagonist (and beforementioned parallel)and having one of the most beautiful wedding purposals 

Originally posted by caerberus

Originally posted by caerberus

Originally posted by captestheimxv

and one of the most awesome weddings ever in gaming history,  in my opinion.

Originally posted by caerberus

Originally posted by iures

Originally posted by caerberus

Originally posted by ethernalium

Originally posted by aegisol


- Caius Ballad (FFXIII-2/Lightning Retuns)

Originally posted by cleyra

Caius saved Final Fantasy XIII trilogy for me.

The whole point of making a post on antagonists/villains is because these characters are a structural part of any story - any FF in particular. FFXIII severily lacked and failed overall to me because of this. Then came this guy and as soon as he appears in the intro, you cannot take your eyes off him.

Originally posted by finalaeon

Originally posted by liberatorofsouls

Originally posted by thingsinlifeyoujustdo

Originally posted by noellkreiss

Caius has got to be one of the most selfless antagonists in the franchise. He’s mean, yeah, but you get his point from the get go. He’s willing to end everything and everyone if it means he can save a girl that has been suffering endlessly (in his view at least - that was one beautiful twist in the story/interpretation, Noel’s words about Yeul’s reincarnation).

And you know what, another rare thing in FF antagonists: he’s successful. He got what he wanted, most of it anyway, including his death. There were some setbacks and unexpected stuff for him in LR indeed (he didn’t plan the Chaos of Yeuls binding him in the paradox, but well) but he got pretty much his biggest three wishes - kill Etro/kill himself, unleash Chaos and Valhalla to destroy time and save Yeul.
Not everything ended up exactly like he envisioned, but the result was basically the same. And he was happy.

Also. The voice. The fcking VOICE. Liam O’Brian, man.

The pain in his words!

And the music!


- Ardyn Izunia (FFXV)

Originally posted by datamarluxia

Well this part isn’t spoilers yet so:
The voice. The. fcking. voice. The range of emotions Darin de Paul and Fujiwara Keiji have in their performances is amazing. Ardyn is so unique, so regal, over the top if he wants and so often funny. So captivating. 
His whole image/pose is striking, the way he stands and moves. Will anyone deny that that entrace in the fucking BEAUTIFUL MAGESTIC throne room in Kingsglaive didn’t immediately steal all and any attention to himself despite his surroundings and King Regis standing in the throne? He owns a scene the moment he appears.

Originally posted by verryfinny

I also found his more human image (meaning his realism really - you don’t get an antagonist in FF looking this real when it comes to mid/late 30s) quite appealing when compared to others. He’s beautiful obviously, like all others, and still clearly FF-ian, but he’s less ‘facially perfect’ compared to several others before him.

-spoilers- henceforth obviously

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astraygenius  asked:

What are some good ways to set up a surprise villain reveal without being too obvious or making it look like I pulled the surprise villain out of my butt?

Villain reveals are always fun! Surprise villains even more so, but they need to be done properly in order to avoid doing the dreaded Asspull.

  • Introduce an important side character who aids the protagonist throughout the story, then at the middle/end point reveal them as the villain. This establishes the character’s possible motivations early on, as well as gives them a personality. You don’t want your villains to be flat characters, after all. You can make them cartoonishly evil (i.e “I CAN’T believe you were STUPID ENOUGH to think I would HELP YOU! Now my evil plan is complete! MWAHAHAHAHAHA!”), but it mostly depends on the tone and seriousness of your plot and story.
  • Introduce the protagonist, tell the entire story from their perspective, and then at the end reveal them as the villain. This is a favourite technique of mine, as it establishes your villain as a dynamic character and also (if you do it right), makes your audience root for them and then feel all morally questioned when the reveal comes. Also a great way to start off a multiple book/chapter/whatever series, as you can start the first book like this and then write the other sequels from the actual protagonist’s point of view. Great for creating Grey and Gray Morality situations, though be careful your villain doesn’t wander too far into anti-hero territory. Of course, if this was your intention, then great! If not, make sure you keep your villains’ actions firmly planted into villain territory (for example, they believe their terrible actions are truly creating a better world).
  • Introduce a Chekhov’s Gunman early on in the story, and at the end have them be the villain. A Chekhov’s Gunman reveal is different than a side character reveal, because your ‘Gunman’ is ALWAYS a massively unimportant character who seems to have no real reason to be in the story (other than to just be a random character). It’s like the whole, “the Butler did it” in old-fashioned mystery whodunnits, or “the dog was the mastermind” as the person you least expected. However, these are a bit trickier to be done right as the villain reveal will feel more out of left-field and you might have more of a chance of your readers accusing you of an Asspull. Just make sure you do mention said ‘Gunman’ at some point early on in your story, otherwise it really will be an Asspull if you never mention them at all.
  • Have your villain’s appearance never known to the protagonist/the audience, and then reveal the villain to have actually been someone the protagonist already knew or was even close to. This is a bit similar to the side character/protagonist reveal, but it’s different in that we know who the villain is. We just don’t know who they really are. Think Big Hero 6′s villain reveal, or the Star Wars villain reveal of Darth Vader. The villain is typically masked, hooded, a combination of both, or they operate from behind the scenes - the protagonist knows that someone’s messing with them, but they don’t know the “true identity” of said villain. You’ll get a “it was you all along!” moment, but it’s always better when the villain is someone the protagonist is close to/was close to.

Keep in mind that you need to time villain reveals properly - which usually comes at the middle or end of a story. If it’s at the mid point of a story, it’s typically when the Real Villain takes the place of the previous villain (the Disc One Final Boss, if you would), and the protagonist has to challenge said villain for the rest of the story. If it’s toward the end, it’s usually a cliffhanger ending that tends to lead well into sequels, or you’re just a sadistic bastard and it’s only a cliffhanger ending.

Now you could do a reveal toward the beginning of a story, but it isn’t recommended because you haven’t had time to develop your characters OR your villain at all and is hard to do well (unless it’s the beginning of the next point in a series, for example). We call this in media res, or in the middle of things - though this is reserved more for starting off stories in an interesting way. I still don’t recommend starting off your story with a villain reveal, however - barring it being the beginning to a sequel, of course.

Paranormal Stories We'd Like To See

The writing students in my Alternate Universe class this week came up with this list of what kinds of things they’d like to see more of when it comes to paranormal stories:

  1. More unicorns
  2. Love and friendship are not magic. Magic is magic
  3. Messier resolutions
  4. More strategy and stealth than all-out brutality
  5. Less blatant ripoffs of Scandinavian religion. If you’re going to have a religion in your story, make it original
  6. Less thinly-veiled stories based on the book of Revelations, thank you very much. 
  7. Less utterly predictable twists, unless you lampshade it. 
  8. Magic that has rules for a real reason, not the reason of “You can’t cut off the BB’s magic because he’s just that strong”
  9. Non-western country serves as the setting
  10. A more detailed look at the rules of magic
  11. An action-packed series with teenagers, but no romance
  12. More supernatural stories where humans know about supernatural existence
  13. Intergalactic stories that aren’t lame
  14. Time-traveling into the future that isn’t perfect (pollution, war, radiation)
  15. Series where LGBTAQP+ isn’t the factor that everyone is “okay with” and makes a character “unique.”
  16. Stories where there are lots of pairings and half of the people die
  17. Unique characters that continue to surprise you
  18. Girls with purposes other than falling in love
  19. Depressing fantasy stories
  20. Quit over-sexualizing every girl ever
  21. Give characters more than one outfit
  22. People who don’t befriend the monsters, but hate/fear them the entire story
  23. Stop making robots learn how to love
  24. No cliché enemies-to-lovers sexual tension
  25. Characters reacting realistically to traumatic events
  26. Characters who aren’t physically perfect
  27. The sensitive bad boy with tattoos
  28. Include parents in the story
  29. Non-romantic boy-girl friendships
  30. Average-looking vampires and werewolves
  31. More action, less love triangles
  32. No more beautiful humans falling for the paranormal hotties
  33. A story where the paranormal creatures are the normal, better people
  34. More comedy than romance
  35. No more happy endings
  36. Non-heterosexual heroes
  37. A story where the guy doesn’t get the girl
  38. Humans are the monsters
  39. Mermaids that are evil
  40. Inanimate objects are the main character
  41. Mother/Father is evil and the devil is good
  42. More old-fashioned villains with really good backstories
  43. Animal point of view
  44. Security camera point of view
  45. Paranormal girls that are drama-free
  46. Hero is the villain
  47. A villain you have sympathy for
  48. Less star-crossed love
  49. Make the Edward accidentally kill the Bella
  50. Monster with human features and psychic ability
  51. Monsters care about people but the people don’t like the monsters
  52. Fewer evil empire stories & dystopian novels with far-fetched premises
  53. Bad ass faeries
  54. Diverse mythical creatures
  55. More Beauty and the Beast stories
  56. No good and evil, but everyone with a combo
  57. Devolving romances
  58. Mythology unique to the universe
  59. More maps
  60. Powers using the elements
  61. Girl saves the guy
  62. Ghosts are penitent
  63. More banshees, selkies and kelpies and other under-represented creatures
  64. Less sensitive boys
  65. More moments where it feels like the end
  66. LESBIAN MERMAIDS
  67. Tiny, nerdy weregirls
  68. DRAGONS OF EVERY VARIETY

 

 

ANYWAYS I HAD THIS THOUGHT IN MY HISTORY OF ANCIENT ROME CLASS AND I NEARLY SCREAMED

What if AFO is copying Nana?

I mean, All Might nearly killed the guy. He’s probably come the closest to really ending AFO’s life, and the possibility of the villain connecting the dots between All Might and Nana isn’t that hard to imagine.

AFO kills Nana. She passed her power on to her student before her death. All Might in turn nearly kills AFO in their first fight, several years before the start of the series. 

ERGO (from AFO’s point of view at least): AFO killing Nana gave All Might the motivation to nearly end AFO.

I mean, I’m probably stretching a bit, but the way AFO says that All Might missed his chance to die means that his own defeat was meant to act as a catalyst for his own student, Shigaraki (he didn’t die, though, so he still has stakes in the story and can probably still control a fun variety of outcomes).

I sincerely doubt AFO had a student before he managed to get his hands on Nana’s grandson, and after seeing how her death was able to drive her student to such strength (whether or not that was the entire motivation driving All Might has yet to be seen) I could sincerely see him planning out his own temporary defeat in order to push Shigaraki to the level he will need to be at in order to bring down the society of heroes. 

Miscommunication

We fall for the smallest things, the simplest gestures and the most effortless reactions.

Witnessing them smile when they is are in their happiest state makes our insides flutter. Listening to them ramble about everything that they are so passionate about gives us full delight. We notice every expression of their face and every movement of their body and we memorize them in a way that a camera can not capture the exact beauty of a landscape or a pen can not write the entirety of our heart’s content.

We find it amusing how they can take us in a place that only our feelings can understand. And because of our ecstasy, we tend to say words that are too massive for their minds to wrap around. We present promises that we know we could not keep. We utter declarations about our intense feelings that turn out to be just temporary. We give this impression that we are pouring ourselves out only for them to find out that our adoration has an expiration date.

We think words are just words until they give us dreamy glances and hopeful touches. We are so drunk with our terminable affection, we forget how it is possible that we are leading them to the wrong direction.

By the time we clarify everything, it is already too late. They have already fallen and we can add their hearts to the long list of things that we have already destroyed.

Soon enough, we will see ourselves to their melancholy. We are the tears that lull them to sleep and the force that orchestrated the sound of their hearts breaking.

We don’t want that, do we? Our only fault is that we speak permanent words for temporary feelings. We let the fleeting moments take us to places that we never really intended to go.  We have been too inconsiderate of their sentiments, we have forgotten they could also misunderstand the sentences that we drop.

So maybe, we will just endure the guilt as we see them in pain. Maybe we will just keep on taking responsibility for their misery. Maybe we will always be the villains. The heartless ones. The people who don’t know how to stay. The lovers who never really loved.

We will always be known for the heartaches that we caused. We will always be damned by the ones we can not love back. We will always be the ruiner of their happy ever after.

At the end of it all, our only fault is that we said too much when we felt too little.

The “explosion” Zoey refers to basically amounts to a very localized earthquake.

In this chapter, we finally got to the point and had the climax instead of a bunch of filler conflict. Unfortunately, a lot of it was very stupid. Neferet is a very ineffective villain.

Though we’re supposed to view her as intimidating and powerful because she’s so beautiful, her attempts to frame Zoey are completely idiotic. It would be one thing if the only red fledglings present were Stevie Rae and Stark - that she could reasonably try and pin on Zoey. But some of the red fledglings died months before Zoey was Marked, so it would be impossible for her to intervene at the time of their death and resurrect them. There’s also the fact that Neferet isn’t particularly good at hiding her villainy. She isn’t wearing Nyx’ symbol, which is supposed to be taken as a sign that she has rejected the Goddess, and she’s wearing a strange raven’s wing necklace that she tries to claim symbolizes Erebus even though it’s common knowledge that his wings are gold. On top of all this, after trying to frame Zoey and make herself out to be the good guy, she does a complete flip and makes it obvious that she’s the one controlling Stark by telling him to “aim for the true mark - the one that will make the earth bleed.” Why pretend to be the good guy if you’re immediately going to order a recently deceased and resurrected student to shoot another undead student in the chest?

The chapter also falls flat because it’s not particularly tense. Zoey and her friends are perfectly composed and know exactly the right thing to say in explaining what’s going on. They don’t fumble for words or feel nervous. Plus, they’re completely safe within the protection of Nyx’ circle.

Well, ostensibly, anyway. Even though the circle is supposed to be “unbreachable” and has, in the past, protected Zoey and co. from blood thirsty spirits, Stark’s magical arrow shooting affinity can pierce it. Even though it’s Nyx’ circle and calling such a circle means they are protected by Nyx. Even though Nyx has made it very clear that she doesn’t want Kalona to rise. I guess letting Zoey’s protective magic stop Stark’s arrow is interfering with free will or something.

One chapter left and then we’re done with this awful book.

I’m going to preface this by saying that I adore Beloved. He’s my favorite character of all time. He was my favorite character when I was fourteen, reading the books for the first time (having stolen them from my sister) before I’d ever even met someone who identified as queer. He’s still my favorite character, eight years later.

However.

That said.

I have this… fascination with the idea that he could be evil.

I’m not saying I think he is. My interpretation of his character is that he’s a particularly moral individual; more so than most of the characters in the books (with the exception of when he’s Lord Golden: he does some kind of nasty stuff). I can understand his motives and what drives him, and I don’t think they’re bad. I don’t think he’s bad.

But.

There’s something about imagining how different this series would be if Beloved was evil that gets me.

Because I don’t think it would seem all that different. That scene when the Pale Woman is talking to Fitz about Beloved and completely changing the meaning behind everything just stick with me because I genuinely think that if Beloved was evil, he could absolutely pull that off.

I could see an evil Beloved going up to a young, but powerful boy; befriending him simply by noticing him when he was so neglected by everyone else, telling him that they’re going to change the world. Manipulating his position so he’s always around people in power; Shrewd, Kettricken, the Vestrits (coz geez, every single damn one of them ended up with some kind of prestige), Dutiful; hell, we even hear about him meeting the old Satrap! Pulling the strings to accomplish his end, and convincing his most useful pawns that what he’s doing, he’s doing for the right reasons. Controlling information flow, establishing a wide network of people who trust him and are willing to tell him things. Why? To release dragons into the world, so that they can destroy humanity.

The whole releasing the dragons is the thing, because the only source we have that says releasing them is necessary to save the world is Beloved. And, as we’ve seen recently, he’s apparently okay with genocide. If it suits his purposes. And I could just see this as some kind of advanced revenge plot against humanity. Could see him calculating the exact right things to say that would make Fitz do what he did at the end of Fool’s Fate; pushing him towards Starling at the end of Assassin’s Quest, not through a desire to ease his pain, but to make sure he doesn’t try to end his own life again. Giving him one antidote instead of two at the end of Assassin’s Apprentice, because he’s easier to manipulate if he’s weakened.

Pushing him towards learning the Skill after his near-death experience with Galen, because the more magic he knows the more use he is. Meeting Burrich at the end of Fool’s Fate and saying just the right things to make sure Burrich pursues them to Aslevjal so Swift will defeat the stone dragon, saving the live ones. Not trying hard to save Fitz at the end of Golden Fool, because he has to be in bad enough condition that the coterie will form. Ensuring that Fitz can’t follow him at the end of Fool’s Fate, because he no longer has use for him, so there’s no point in keeping the connection. Screaming that Fitz is a murderer at Shrewd’s death so the servant will overhear, and Fitz won’t be able to stay out of the situation during Royal Assassin’s conclusion. Putting some memories into Girl-on-a-Dragon so Fitz will follow suit and end up partially Forged, because he’ll go further if he’s basically a budding psychopath.

And I say this out of respect. I love a good villain more than a good hero, and Beloved would be the best villain there ever was. Because we see him mostly from Fitz’s point-of-view, subject to his opinions and beliefs. And if Beloved really was that good a liar, able to completely deceive Fitz, how would we know?

I just.

I just find it interesting, to view the series through this lens that paints Beloved as a master, Machiavelli liar, who succeeds not by force, or seduction, or anything like that; just by getting the right people to trust him.







(But he’s still my precious cinnamon roll)

anonymous asked:

You know what gets me about Sterek anons? They will fight til their blue in the face, defending Stiles or Derek for their shitty actions (and they've had a few) but in the same breath chastise Scott for keeping a secret from them. It's almost like they expect others to listen to their criticisms but never be open enough to think about how maybe Derek/Stiles have acted shitty (if not worse) than Scott. It's why I don't like giving them the time of day b/c they won't show that same respect for me

In my opinion, they have always wanted Derek to be the primary protagonist, even though he was clearly an antagonist in Season 1 and 2 (before people freak, antagonist does not equal villain).   The show clearly had Scott’s and Derek’s point of view in conflict in season one and two and resolved that conflict by the end of season four.   Scott learned to stop hating what he was and to embrace what that power gave him and Derek learned to forgive himself and that he was indeed a worthy successor to his mother’s legacy.   In “Smoke and Mirrors” they had reached the end of that story of conflict.  

Yet, many people didn’t want a mutual resolution.  They wanted victory, and when it was clear that the show wasn’t going to give Derek the ‘victory,’ they grew hostile to Scott in his entirety.  If Derek wasn’t going to be the ‘ultimate good’ then Scott had to be ‘the ‘ultimate evil.’  

My defense of Scott is because of this.  I defend Scott, because I shouldn’t have to defend him.  I am pretty sure that much of my dislike for how the show treats Scott is based on this hostility from the fandom. 

I criticize Stiles a lot because in fandom, I see, repeatedly, things like “Everyone should always listen to Stiles” when he has been clearly wrong and acted wrongly.  I promote Scott because I see review after review of the show that doesn’t even talk about him.  I promote Scott because he is erased and ignored even though the show couldn’t work without him.  I promote Scott because I see slurs like “he doesn’t make difficult decisions” or “he doesn’t put his pack first,” and it’s like ‘what?’ 

The reason I am so hostile to the Stiles of the middle of Season 5 is not because I think he was a poorly written character or because he acted out of character, it is because the show excuses his actions in Season 5 and condemns Scott for actions that are a lot more reasonable.   I am hostile to Stiles because I can’t stand fandom’s near-worship of him.   He’s a great character, yes, but Scott is a better one.  There used to be a time when a person who does his best and tries to help everyone was actually admired, rather than used as a scapegoat for an insecure and selfish one.

What i think Wander Over Yonder´s Third Season was gonna be

This is speculation based on several indicators season 2 had about where the show was gonna go. We all know the endgame for the REAL series finale was hater becoming a good guy and wanders friend.But thats just one part on what might have been a great season of character study.Granted,all i say here is what i think and not confirmed at all so dont take this as fact,just as ideas.

Also,spoilers for EVERYTHING wander over yonder related.You´ve been warned.

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