especially narratively

I pray we all find jobs after graduation.

Between volunteering, interning, working full time, going to school full time…these 4 years have flown by so fast. I know i’m not the only one with the same story, but with May literally around the corner I can’t help but begin to get nervous. We’ve all heard the post-graduation job search stories, I pray we don’t become part of that narrative.  Especially those of us in the social sciences…it’ll be hard but I hope luck favors us all.

Okay so we all know that there’s no way there’s no way Anakin Skywalker could have had a Y chromosome because half his genetic code is propped up by midichlorians and bullshit, but consider now that he had twins.

Consider that Owen and Beru had no way of knowing that Anakin didn’t know anything about his children, because he’s got them space wizard powers don’t he? Consider that when Obi-Wan handed over a tiny child with a little patch of blonde hair and a big destiny, he probably neglected to mention the child had a sister. Consider that, hey, if Vader’s looking for a girl then I suppose it’s not too bad if she wants to cut her hair short. If she wants to wear boy’s clothing. If she wants to change her name.

What I’m saying is, trans dude Luke Skywalker, people.

I’ve re-watched Storm In The Room a bunch of times already and I will probably do so a lot more for the rest of my existence but I just wanted to write down my feelings on how it highlights once again one of my favorite things in Steven Universe’s storytelling: patience. 

As creators, it’s always difficult to regulate how you show information to your audience. You know a lot more than they do about your story and you’re most likely eager to tell them everything, so choosing how to present it and when is very important for the flow of the narrative as well as to generate whatever effects you’re looking for in your audience. I always looked up to Steven Universe because it’s one of the most patient shows I’ve ever seen, when it comes to exposition and narrative flow, especially for a kids’ show. It’s not slow, because the plot moves perfectly and information is released at all times, but it’s done in such small amounts that, when you reach an important point, you realize how much you needed to know to get there and how much you’ve already learned without even noticing. That shows great respect to an audience, from those who create, and great trust in the show, from those who distribute; especially when we live surrounded by content that is incredibly fast-paced and immediate, and even more so in kids’ shows (this is why I’m upset by irregular releases and how in some countries it’s aired out of order, that’s disrespectful toward the show and the audience, but that’s another matter). 

Steven Universe uses this patience with clear narrative intentions. For example, I’ve always found brilliant how Garnet was introduced as an individual character first (and for 51 episodes, at that) and an experience of Ruby’s and Sapphire’s love second, so people (especially kids, the true audience of this) get to know their love before they know them individually, before any sort of prejudice they might be carrying could influence their perspective. And by the time that arrives, denying their love would be denying Garnet’s existence, and who would dare do that? 

But the reason why I end up praising this again now is because this show is, ultimately, a coming of age story. It’s Steven’s story. That’s why the balance between human issues and gem issues is so important, that’s why every episode adds something. One of the issues I come across in storytelling (especially for kids) when a parent figure is missing is the simplification of the relationship that character has with the idea of the parent, especially when the parent/s are regarded as heroes by whoever is around the character. Steven’s relationship with Rose is never simplified and it’s detailed in breadcrumbs of information throughout the show, since the very beginning. When I imagined an episode like this back in season 1, I would have never known it would advance to such emotional complexity and moral dilemmas, but it all resulted from the sum of parts that where carefully placed in our way. I saw from afar the fandom itself going from seeing Rose as a distant and mysterious figure to intense moral arguments on what she had done and what point in the good/evil spectrum she was on. Because not only we learn things at Steven’s pace, we see how things affect him directly, not in a detached manner but in a close perspective. This is also influenced by the fact that Steven is a main character which people really like in general, which is something that doesn’t happen as often as it should. A lot of writers struggle when creating lead characters, they tend to end up with bland or simplified characters people aren’t as interested to read as the flamboyant side kick or the cool mysterious partner. Steven’s character development, the treatment of him as a complex individual and the way in which we see information as it’s presented to him, whether he interprets it the way we do at the time or not, is a winning combination. It allows us to be more than observers, to get involved

That is storytelling at its finest, that transformation of people’s perspectives, the moment in which you question what you thought and wonder and ask questions and don’t stand still. When you’re not just entertained but you’re actively participating in what you’re witnessing. And this would have not happened if we had known all this in seasons 1 or 2. If Steven had known from seasons 1 or 2. This crew is patient because it trusts its show and its audience and it has a handle on information that I admire as a creator and as a part of the audience. Their patience allows this level of complexity with an organic flow in narrative, taking subjects as heavy as war, political turmoil, social rights, equality, grief, identity and love and breaking them down to small pieces, which add up to a very complex scenario and pushes you to question your perspective and analyse everything you thought you knew or learn it for the first time. I just admire this show so much. 

anonymous asked:

sorry im a bit new to the sw fandom, but is it really that important that rey is wearing a bit of black underneath her clothes? i know visualization is important but i was wondering if it's _that_ important, especially in sw narrative

I think it probably is significant. The best comparison is Luke’s costume in Return of the Jedi, which looks like this:

Initially, it appears to be pure black. However, in the final scene with Luke and Vader, we see that there is some white underneath. In Return of the Jedi, Luke is heavily tested by the dark side and even flirts with it briefly at Jabba’s Palace. Nonetheless, he ultimately remains committed to the light side. The costume reflects this - Luke deals with abundant darkness, but the light is at the core of his being and is ultimately what triumphs.

So given Rey’s costume - which appears to be a light exterior covering a dark interior - I don’t think it’s unreasonable to speculate that she might follow an inverted trajectory - starting out in the light, but gradually recognising her inner darkness and potentially even giving into it at the end of the film.

A Good Ending | Hansol

Summary: two people with two different things on their minds; while you were lost in thought, he was lost in love. (fluff)

The constant whispers of the nippy wind kept you company as you walked rather grumpily amongst the busy people. Your lips were puffy, your nose grew pink, and on top of that, not any of your thick outerwear was helping. 

Keep reading

ok i can’t fucking take it anymore bc y'all keep replying to my posts from yesterday and it’s stesssing me out so here


if hussie sat down at some point and point blank said “my character terezi pyrope is bisexual” maybe y'all would have some ground here but the last time hussie even mentioned all trolls being vaguely (bc kanaya definitely isn’t, so it’s not universal) bi/pan was like 5 fucking years ago and the narrative – especially terezi’s arc – has shifted drastically. hussie hasn’t said a damn word about anyone’s specific sexuality other than joking that they’re all gay in half a damn decade.

there is absolutely no fucking harm in reading her as a lesbian i’m not “taking anything” from anyone, and i’m sure as shit not out here policing ppl for not headcanoning her as a lesbian bc that’s their business! it’s all good!

terezi and lots of other vaguely wlw characters w/out specific sexualities can fall either way! it’s great! i personally hate the idea of vriska being bi but go ahead! rose can be bi!

there can be variety and fluctuation in headcanons about various lgbt female characters without us going at each other’s fucking necks about it, because that’s not helping and i for one at under too much stress to deal with outright animosity from strangers over a god damn webcomic

come on. we have bigger fucking fish to fry

if you really want “demanding lesbian headcanons outlawed until the character is confirmed a lesbian” to be the absolute joke of a hill you die on be my god damn guest

straight writers hate using labels lmao, they always have, and this whole argument feels like straight people’s mediocre handling of gender/sexuality has – once again – become an us vs. them issue between bi women and lesbians

and i’m really, really tired. i stopped arguing about this shit months ago because after years of petty arguing i realized how miserable it made me and everyone around me. it feels a lot god damn better to give people breathing room and allow them to understand lgbt characters through their own experiences than it is to police ruthlessly. there’s allowed to be two completely valid opinions or readings of a character that both make sense and yet are completely opposite.

if someone doesn’t have the same headcanons as you – find someone who does. go have fun.

take a deep breath and relax.

On Yuri!!! on Ice and good endings

Here’s my take on reassuring thoughts that everything will work out in episode 12, which deals with music—specifically the OP song History Maker.

The first verse of the song that we hear in the OP seems to relate heavily to Yuuri:

Can you hear my heartbeat?
Tired of feeling never enough

Yuuri has been dealing with not feeling “enough” throughout his whole career, and especially through his narrative arc in the story. This boy is his own worst enemy in downplaying his accomplishments and up-playing his failures. Though the line after this gives us a little more hope, and a glimpse of the fighting spirit that Yuuri has:

I close my eyes and tell myself that my dreams will come true

So at least from the opening we know that Yuuri is tired of the state that he’s in, and is trying to reassure himself that he can do this. He hasn’t given up. He’s telling himself that he can make this work. But the thing about anxiety is that sometimes it’s not enough to just tell yourself that things will work out. Just telling yourself that things will work out is a flimsy pier at best when you’re standing in a violent ocean of years of self-doubt.

He’s been doing well staying afloat for most of the series, but it looks like in episode 11 he’s reached what he believes is his plateau. He’ll have to let Viktor go back to Russia to skate, and then he’ll retire. This is his last chance, and he feels like he’s messed it up already—so he needs to rip off the band-aid early and let Viktor get back to what he loves instead of selfishly keeping him around to watch Yuuri flounder.

We don’t know how this resolves, which is why it’s so scary. But I think in a way, we’ve already been told how it resolves itself.

If we go back to History Maker, the second verse has changed in tone, even musically. It begins the same way, but the second line has a subtle change:

Can you heart my heartbeat?
I’ve got a feeling it’s never too late

It’s never too late, hmm? Yuuri has spent the whole series feeling like his time is running out, be it about his skating career or his relationship with Viktor. But now here, if we’re still going along with this song being in Yuuri’s POV, Yuuri has suddenly decided that it’s not too late. He feels that it’s not too late. He still has time. I personally believe this means time to skate, specifically with Viktor. He’s spent the series thinking that his time was running out. He was a late-bloomer; he was getting older and felt as if he had done all he was capable of. The only option left was to try to leave on a high note and retire before he began his downward spiral.

And in the next verse, we get something even more resolute:

I close my eyes, and see myself how my dreams will come true

This is stronger than the first time we saw this line. The first time, he only tells himself his dreams will come true. But Yuuri is an unreliable narrator, even to himself. Telling yourself one thing doesn’t mean anything, especially with anxiety as rampant as Yuuri’s.

But here, he’s not telling himself his dreams will come true. He sees it. It’s not just a thought, but it’s something more tangible. The sight of his dreams coming true. It’s not a goal that he’s telling himself he could reach. It’s a result he can see for himself happening.

History Maker is the OP for a reason. We wouldn’t have this message of Yuuri becoming more confident, feeling that it’s not too late and seeing himself make his dreams come true in the song if it wasn’t going to be echoed in the series. For that reason, I think that everything will turn out fine.

I hadn’t listened to all of History Maker until recently, and you’re still scared about how episode 12 will turn out and also have not, I suggest it! Because it reassured me on some things.

Lea’s video regarding Darren and the song Battlefields nicely dovetails into the whole ‘we talk on the phone regularly so why wouldn’t he send me videos at New Year’ narrative. I especially enjoyed the moment she got out her phone to call him, like they do this all the time. 

Call me cynical, but this is very convenient as she never bothers mentioning him on her social media, but he has a new gig so there’s that bandwagon to jump on.  I expect Darren to mention her in return soon.  

Favours and mutual promotion for her album and his role in the flash, nothing more.

anonymous asked:

So, what I'm getting from that post you made about why you no longer call yourself an "antisjw" is: Many of the earlier "antis" were people who were general supportive of social justice, but critical of the way "sjws" would twist facts to suit their narrative (especially about men), but the community eventually deteriorated into having many legit racists and people who think that there "are no inequalities in the system". Is this correct?

yes. and also the unspoken rules that one does not disagree with the proverbial leaders or the set beliefs.


The Superlatively Superfluous Adventures of Legolas (and Tauriel)

Dateline: Gundabad (16/25)

i was just thinking about ritsuko and shinji. their relationship is one of the most overlooked ones in nge since people mainly focus on how the rest of the eva pilots + misato interact with shinji. however, the way ritsuko treats shinji actually really highlights her overall issues. 

in many narratives (especially fairy tales) in which a man loses his beloved wife and later takes on a lover, the lover holds complete animosity toward the man and his late wife’s biological child. however, ritsuko doesn’t seem to really hold much in the way of animosity toward shinji. instead, she hates rei (and, by extension, herself).

ritsuko’s mixed feelings toward rei seem to stem from the fact that she is a clone, she is female, and ritsuko perceives her as a romantic rival. just as rei is a clone of yui, ritsuko deep down views herself as a clone of her mother. she has taken the exact same profession and is sleeping with the same man. (she tries to distance herself by dying her hair blonde, but that’s completely superficial). just as rei II takes over for rei I after being strangled by naoko, ritsuko fills in for naoko’s role once she commits suicide.

thus, ritsuko’s hatred for rei as a clone is mixed up in her hatred for herself, and, although she prides herself on her logic, these emotions are “illogical” so she attempts to tamp them down. ritsuko’s mixed feelings toward rei also have to do with the fact that she’s female. although she’s only a little girl, ritsuko still views her as a woman, and she transposes her complicated relationship with women and motherhood onto rei.

so why no hatred toward shinji? isn’t he the ultimate symbol of gendo and yui’s emotional and physical love as their child? on a surface level, you can say it’s because gendo outwardly treats shinji poorly, while he seems to treat rei rather tenderly. however, i think it’s deeper than that, and it can actually be traced back to ritsuko’s childhood.

when ritsuko talks about her childhood, she tells misato that naoko was a great scientist but a horrible mother. while their relationship was civil, naoko was always distant toward ritsuko and gave more attention to her work than her daughter. gendo was the exception to this. naoko loved him very deeply in a way that was passionate and illogical. when naoko murdered rei I, she knew gendo would reject her and committed suicide as a result. 

thus, this suicide was evidence to ritsuko that her mother prioritized her romantic love for gendo over the platonic love she had for her daughter. thus, from a young age, ritsuko was twisted into thinking that platonic relationships were always inferior to romantic ones. 

ritsuko hates rei because she is the clone of her romantic rival, the ultimate key for gendo to meet this romantic rival, and she also reminds ritsuko too much of herself. as a boy and as gendo’s son, shinji is no threat because the platonic parent-child relationship he has with gendo is inferior and will never trump a romantic one. by treating shinji poorly, gendo further cements ritsuko’s point of view.

ritsuko’s prioritization of romantic love over platonic love is what ultimately ruins her. misato is the closest friend she has, but she completely ruins this relationship by keeping NERV’s secrets from her. when gendo rejects her, she has nothing left.

that said, it would be incorrect to say that ritsuko is completely indifferent toward shinji. while it seems at times that she is willing to sacrifice him, she also seems to pity and sympathize with him, and she recognizes that the way gendo acts is wrong. this is evidenced by the fact that she tells shinji that his father is “not adept at living” when she visits him and misato at misato’s apartment at the beginning of the series. she is also pretty observant of shinji’s problems, and she is the one who brings up the “hedgehog’s dilemma’ in relation to him.

nonetheless, she keeps her distance. part of it probably has to do with the fact that she views herself as hopeless. (when she says that rei and gendo aren’t “adept at living,” i think she feels the same about herself due to the fact that she is a “clone” like rei). part of it also has to do with her childhood. when naoko killed herself, she indirectly taught her daughter that a romantic relationship always came before a platonic one. therefore, ritsuko saw no reason to act as anything more than a superior to shinji. the idea of her trying to be a guardian to him was completely alien.

it makes sense, therefore, why misato would be the one to take shinji in. misato’s father is essentially the opposite of naoko. he is the one who made the sacrifice for platonic love, saving his daughter’s life. it makes sense why misato would try to attempt to form a parent-child bond as her own form of sacrifice (even though she wasn’t all that great at it).

poor ritsuko, on the other hand, sacrifices herself to romantic love, and, well, the result is this:

I genuinely don’t understand how no one on The 100 hasn’t collapsed from sheer emotional trauma from everything they have gone through. It’s just not realistic in any kind of narrative. Especially Clarke. This girl has been through everything you could possibly imagine, especially just losing someone she loved and she hasn’t been given the chance to properly grieve. She needs to be able to mourn Lexa but no, let’s just thrust her into another life endangering scenario where the fate of humankind rests on her. Again.

anonymous asked:

You're white. So maybe you could stop saying that it's racist to not want Regina to end up with some random white dude? Maybe people don't want Regina to end up with a dude because a) OQ&Hood sucked so nobody wants to go through that again and b) we're allowed to not want more men in women's narratives, especially bland white dudes. But sure everyone is just being racist... according to a white woman who shipped Regina's canon het ship.

I wonder if you say that to the white people who make the opposite argument?

Guess what, this is not how discussions of race work.  I never said people were being racist.  I’m saying that that narrative would play into a racist trope.  Which… I’m allowed to point out.  

Despite what some people in this fandom think queer ships and shippers do not have immunity from ignoring racist tropes.

messertod  asked:

So what is Flip Flappers?

It’s a really surreal magical girls show filled with lots of symbolism and allusions, especially dealing with narratives and our senses of identity. Got a really bright color palette and upbeat tone, but just enough hints of horror and serious themes to keep things interesting without going too dark.

Basic premise, you’ve got this girl named Cocona, who’s really shy and indecisive. She meets Papika, who’s an incredibly hyperactive and outgoing girl with a hoverboard who becomes enamored with Cocona shortly after their meeting. Papika takes Cocona to the world of Pure Illusion, a parallel fantasy land with weird dreamlike logic to it. The two girls have adventures, get magical powers, go up against shady organizations with shady goals, meet a cast of crazy characters, and unravel mysteries behind both of their pasts.

It’s just lots of upbeat fun and was exactly what I needed last week. Got some issues with pacing (most of the show’s very slow paced, only to become super fast paced in the last few episodes,) but nothing that really hurt the quality. There’s a lot more stuff to analyze in it about the themes and all that, but that’s getting more into spoilery territory, and I don’t want to do that ‘cause I hope at least a few of my followers find it interesting enough to watch.

anonymous asked:

lol why are these bloggers talking like experts on lgbt people in japan when none of them are even japanese??? no lgbt outlets in japan are talking about yoi hmm maybe because they know it's not setting out to represent them or that it actually gives a fuck about gay people.

thanks… i have no idea how lgbt people in japan feel about yoi specifically and i’m not trying to pretend i do but i get how what i said could’ve been mistaken for that. i should’ve made myself clearer. 

i’m just tired cuz since the beginning it’s been a neverending show of shitty reactions from western fans (calling it q***rbaiting, calling it good rep, embarrassing meta, the mess with the best animation award, etc) and for all of it me & my mlm friends have had to hang on to each other for reassurance that no, we’re not actually bad people for voicing discomfort at the way slash fandoms treat m/m narratives, especially when the fandom is so BIG

i get that there’s a lot of issues at work but i don’t think it’s wrong fundamentally to remember, however the reality of romance codes in japanese media is compared to western shows, that yoi was made by a BL fan for BL fans. some of kubo’s intentions may have been good and yoi’s success among professional ice skaters is great and inspiring (as well as the fact that TONS of people not otherwise involved in BL loved it and loved viktor and yuuri’s relationship) but slash fans have no right to act like this reflects on them in a good way or to play victim when shit hits the fan and it turns out that, yeah, kubo really doesn’t care that much about making their yaoi otp 100% explicitly canon after all. like, come on. half of viktor and yuuri’s intimate scenes in the anime were comedic in nature. in the end as always men who love men are the butt of the joke, and in fandoms like those we’re not just that, we’re also nitpicked at or outright insulted for demanding more respect.

enjoy yoi if you want and find comfort in it if you want but don’t come at me for being angry about the massive amounts of ridiculous fetish i’ve had to endure for months because of this show. it’s been such a struggle enjoying every episode as it was, and even now i still want to give up on finding good things about it and just start being Really Petty and hating it outright. 

Last thing (for now at least) I’m gonna say about Beyoncé at the grammys. Its not just the things she lost that bother me it’s the 2 she did win that kinda rub me the wrong way. Yes she got best music video but she been getting awards like that all year including basically sweeping at the VMAs.Yes, the grammys are “more important” but its kinda like a been there done that kinda thing like can she get bigger acknowledgement already?? The Formation video wasn’t even exactly a part of the Lemonade narrative especially the visual film so to only acknowledge it and not the rest (i.e snubbing her for best music film like TF?!?) is basically deleting everything the album really meant. Also “urban/contemporary album”? Really? Just say the best Black album next time lol. Her winning that and not any of the big awards proved that they STILL only want her to be in the Black category and not leave that box they try to put us. Honestly I would have liked if she lost that award and one AoTY instead so another less famous Black artist could’ve gotten it so they could get some shine and hopefully be able to make it out of the “Black people music” box one day too. Moral to the story is yes she won 2 grammys and I’m happy for it because some people were completely snubbed (poor Rih…) but the ones she got were very insignificant to the path of her career and she got cheated out of the ones she 100% deserved. THIS is why I’m upset.

14193 a réagi à votre billet “I’m really, really suspicious of aesthetics/headcanons etc. which make…”

and like. I say this also w/the argument that there is no good way to correct SW bc even when you recast with people of color they’re in a violent world constructed in racism from every angle

you know, this is something i haven’t actually thought of before. thank you for bringing it up

i think with the prequels especially, given that the narrative there is a tragedy, and even if the characters fare better than in canon (padmé survives childbirth and helps make the rebellion before being assinated, obi-wan finds some purpose and friendship on his journey to find the journal of the whills and learn how to speak to qui-gon, etc.) those narratives are ultimately going to be unhappy ones… like, i imagine it’d just be incredibly depressing to watch these heroes become live to fight on but ultimately fail to combat a fascist regime when the implicit messages about fascism/imperialism are made explicit through casting people of colours, and that’s not beginning to address …. like the actual instances of racism which were directors decisions (e.g. aliens as racist caricatures) or how the world is essentially neoliberalism in space and thus imperialism and racism is inescapable…

yeah, the more i think about it, you’re right :\