experiment in storytelling

anonymous asked:

I think a huge problem in fandom is the fact that people consider their fandom to be their IDENTITY. You are more then the things you like!

I think outrage over how stories are told is a pretty normal human experience. Storytelling has always been a thing, and its always been a thing that’s had genuine impact on society. To the point that there are common phrases and concepts in our collective cultural memory that will reference stories written literally centuries ago. English departments are literally full of fan fiction and meta written about ~classics~. People have always loved and heavily identified with stories, and I think modern fandom is just another evolution of that.

Also, when I was a teenager, fandom was for me (a scared, suicidal, Church of Christ raised baby gay living in the deep South) the only outlet through which I could be authentic. And when you live in a community that does not approve of you there’s something extremely vital about having media you can look to and see yourself in. Now as an adult who is very comfortable in her own sexuality I view fandom as a hobby, but when I had nothing else it was a lifeline. I’m not a big fan of knocking on the things people use to survive.

Are there more people who don’t need the Thirteenth Doctor to feel in any way confused about her gender/clothes/lack of pockets/whatever?


Abandoned Bowling Alley Turns Into An Immersive Public Art Experience 

What a time to be alive. The former Silva Lanes Bowling Alley in Santa Fe is now the “House of Eternal Return” - a trippy Victorian house built to scale inside the bowling alley by pioneering art collective, Meow Wolf.


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Uncle Gerry’s Family Fun Zone

by reddit user Red_Grin

This is a lengthy story but it is worth it:

I didn’t know Will could draw, I remember thinking as my friend’s hand quickly moved across the page. And then I looked more closely at Will’s impromptu sketch, and I immediately regretted it. I tried to unsee it. I shifted my attention to other things around me, anything at all that wasn’t ink on the page: the blur of Will’s hand, the beads of sweat gathering at his temples, the gentle autumn breeze creeping through the crack of the window.

Don’t look at the page. Just don’t look at it.

But I knew I had to. So I looked. And it was worse than I expected. Much worse.

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anonymous asked:

People are upset because he kept saying the album was super honest so they thought they were getting 10 neutral gender songs and a whole ode to Louis. But 1. Honesty is not about songs being literal 2. He is his own person so if you thought it was all gonna be about Louis and their relationship you are reducing to only that 3. Songwriting has more to it than writing from personal experiences 4. Harry is a storyteller 5. There were like 5 people on the writing team, it doesn't all come from harry


well, you guys, today i ran my one shot and i am officially a dungeon master! i spent the last 6 months or so working off and on on this game i called “the green light.” i spent roughly 4 months on the basic writing/mechanics, drawing the map, etc., and 2 months getting player character info and incorporating it into the game and then doing some limited pre-game RP via one-on-one text RP and voice call to get people prepped for the game. the game itself was about 6 hours long including a little epilogue and Q&A we did after the climax of the game.

the basic premise was roughly inspired by the Clue movie; for whatever reason, each character had been invited to an intimate dinner gathering with a wealthy widower, Adagio Vanguish.

above is some of the PC and NPC art i did for the game. it was a really terrifying, exhilarating and fun experience. i may run it again and i may concoct another one shot some day! i don’t think i could do a whole campaign but over all this was such a fulfilling experience and i got to experiment a lot as a storyteller in ways i don’t usually get to.

Lars is changing...

Lars, as of now, is little more than a teenager who harbors a number of insecurities regarding his self-image as shown with how he beats himself over “Bingo Bongo” which Buck actually liked.

He’s doesn’t think his baking skills are anything to actually broadcast because he thinks people will see him as “lame” and actively wants to be with the Cool Kids, not realizing that they’re different kind of “cool” from what he has in mind. Again, Bingo Bongo.

Sadie sees a good person inside of him past all the emotional turmoil and hopes to bring out the best in him like having Steven try his cooking but she knows deep down that it feels like she’s forcing him to be happy.

His character arc seems to be very much “Two Steps Forward, One Step Back.” I can tell you from experience that old habits don’t just die hard, they cling to life with persistence as your experiences in life erode them away or let them bounce back suddenly.

Growth isn’t always linear. I think most people are aware of this but don’t really find enjoyment in it when portrayed on TV, writing it off as poor storytelling or OOC. We don’t want flawed character like that so much as characters that deal with their flaws within one or two episodes and then barely address them again.

I can’t tell you how many posts I’ve made in defense of Korra’s arc in Books 1 and 2, the latter even more so. Hell, Pearl got the worst of it with “A Cry for Help” and the episode ended on a 4th Wall Break with Amethyst wishing it was like on TV.

I had an interesting idea the other day while I and my parents were waiting for the movie to start in the cinema. My mum loves going to movies while I’m in town, which on the one hand I kind of get, because it’s fun to talk about them afterwards and I think a lot of the time she and Lucky don’t see eye-to-eye on what kinds of films they like. With me along it’s two against one. :D

But I also think it’s strange that we, as a culture, go to see movies as a social event, because it’s one and a half to two hours of sitting in silence, in the dark, next to someone, absorbed in something that is neither yourself nor the people you’re there with. And this isn’t a criticism – I get it. It just also strikes me as weird. 

So I had this idea, which sort of melds the experience of cinema with the more active storytelling experience of, say, something like LARP or D&D, which is the idea of Going To Make A Movie. 

The concept is this: you gather a bunch of people together in comfortable chairs in a dim room, and one designated “starter” throws out an idea: a tagline, a concept, a movie poster, an elevator pitch, the opening scene of an imaginary film. And in the time alotted – say, seventy minutes to two hours, which is the range of most films – you all, collectively, tell the story of a movie in real time. The worldbuilding comes at the start, the climax comes two thirds of the way into your alotted time, the resolution lands at the end of seventy-minutes-to-two-hours. And you can either chime in with ideas, or just sit and watch your friends try to tell you a movie. 

Also there’s snacks. Snacks are an important, nay vital, aspect of Going To Make A Movie. Lots of snacks. 

I think it could be a lot of fun. 

Jennifer Morrison On Why She Is Leaving ‘Once Upon a Time’, Emma’s Final Battle & What’s Next

Emma Swan is leaving Storybrook. Jennifer Morrison announced this morning that she has declined ABC and Once Upon a Time creators Adam Horowitz and Edward Kitsis’ invitation to return next season, opting to depart the fairytale drama at the end of her current contract.

In an interview with Deadline, Morrison addressed the reasons for her decision to end her Once run after six seasons.

“I spent six years year on House, a year on How I Met Your Mother and spent 6 years on Once Upon a Time, and collectively that’s 13 years of network schedule, which is an amazing and incredible gift but it’s a grueling schedule,” Morrison said. “I’ve been transitioning into doing more directing, I’ve had some opportunities that I’ve passed up along the years in order to fulfill these network schedules, and I really had to weigh where I was in my life. I’m just at an age and a time in my life where I want to be home, I want to be with my family and my friends, to have a chance to have a personal life for a while, and also wanted to be available to do other creative things.”

Since wrapping Season 6 of Once about a month or so ago, Morrison worked on two films and is now in rehearsals starring opposite Matthew Perry in the off-Broadway production of his play The End of Longing. Her feature directing debut, Sun Dogs, is headed to the festival circuit, and she is looking at film and stage directing opportunities.

“It just felt like everything had come to a really nice place for Emma, and (Horowitz and Kitsis) had set themselves up to really revamp the show with new people in a really interesting creative way,” Morrison said. “It felt like time for me to come home.”

Morrison made her decision not to continue awhile back and shared it with the series’ producers but it was not made public until after last night’s musical/wedding episode, which Emma and Hook got married.

“(The producers) wanted to be careful to protect especially the musical episode, they wanted to withhold the information for a little while because they didn’t want to spoil the experience of the storytelling for the fans,” Morrison said. “Honestly I think they would’ve loved to have held it until the season finale but it was getting to the point where the information was in the universe and it was about to come out.”

In her Instagram post, Morrison said that she will return for one episode if Once is renewed for a seventh season. Would she be open to doing more?

“All I can say is that I only negotiated for one episode, and that’s all I can promise at this point,” she said.

Here is what Morrison had to say about the the upcoming conclusion of Season 6, which will be culminating with the final battle between Emma and the Black Fairy.

“It’s tough to do that without giving anything away,” Morrison said. “What I can say is that I feel like everything culminates in a way that I feel is very true to Emma’s story and true to everything that she’s been through. I thought (Horowitz and Kitsis), as always, came up with something that was really creative and inventive in terms of what it was that Emma really has to face in order to fight the final battle. I’m very pleased with how they’ve written the character and how they have everything play out in the last couple of episodes.”

What will Morrison miss about Emma the most?

“It’s very rare that you get to play such a strong smart and vulnerable character,” Morrison said. “I really love that she is a whole person and that she struggles with things, and she fails, and she has the courage to overcome them, fight to be a better person, fight to be vulnerable and to let people in. I’ll miss pretty much everything about her. It’s been truly, truly incredible to have the honor to be Emma for six years.”

What was Morrison’s favorite Once episode/scene?

“It was definitely very special to do the musical episode and have Emma marry Hook in it,” Morrison said. “I think it was such a beautiful culmination of her journey. The scene in the Mayor’s office where she realizes that that song would unleash some power in her to be able to fight the final battle and to have strength against the Black Fairy — I really saw that as her true, true transition from the ugly duckling to the swan, her final step of really embracing who she truly is and truly embracing the power that she has within her. I thought the song was beautiful, I loved that scene, and then I also really loved the wedding scene.

When we met Emma six years ago, she was so so guarded that it was so hard to imagine her walking down the aisle so vulnerable, so open and so truly in love and surrounded by her family and all these people she’s been through so much with. I loved to have had the opportunity to play this character who could grow so much in these six years it gives me a lot of hope for life in general.”

As an actress, what kind of role would she like to play in the future?

“Deep down there is a little part of me that wants to do a period piece, I think that would be fun but it has to be the right project,” Morrison said.


anonymous asked:

What's this 17776 thing? I've been off tumblr for a little while, and I'm very confused but curious.

17776 came into spotlight about a week ago when the sports website sbnation published an article called “What Football Will Look Like in the Future,” which upon clicking quickly devolved into a bizarre wall of text reading, “Something is very wrong.”

It turns out that the whole thing was the start of a multimedia storytelling experience by Jon Bois, which is still ongoing now. I would link it for you, but I’m on mobile - it should come up if you search it. (Edit: Here’s the first chapter!)

With minimal spoilers, and in my interpretation, 17776 is an absurdist scifi multimedia story which explores existentialism, the nature of humanity, the meaning of life, the direction of society’s evolution, and the role American football (and sports in general) plays in it, all using hilarious modern internet humor and a charming cast of unexpected characters. There are a great deal of delightful surprises and a number of startling insights.

I highly recommend it!

Emotion and Pacing in comics

One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s not what I’m interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. :)

When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.

For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys). 

Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left): 

Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.

There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:

This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page. 

I’m going to use some scenes in my graphic novel The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! :)  

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North Miami chooses multi-color metal sculpture to celebrate LGBTQ accomplishments
A sculpture of metal columns painted in colors of the rainbow — and beyond — has been chosen by North Miami as Miami-Dade County’s first public arts installation dedicated to LGBTQ accomplishments.

According to the councilman for the city of North Miami Scott Galvin (one of the longest serving openly gay elected officials in the US) the installation was originally meant to serve as a memorial for the victims of the tragedy at Pulse in Orlando, but the vision shifted to a more celebratory dedication to LGBTQ achievements, particularly in light of Moonlight’s Best Picture win. The film was set in Miami, and written by two Miami natives.

The artist, Alan Gutierrez, says

The power of queerness lies not only in the potential to learn, but the ability to teach, how to access the tools, modalities, and states of mind needed to assimilate new progressive and fluid identities within an uncharted spectrum, while expanding the current rigid definitions of what it means to love — both ourselves and others….

While this narrative may appear personal, it’s actually quite universal. These colors are literally used in theatrical and cinematic representations of characters to convey or accentuate a hyperbolized reality of who we can be, or what can be done onto us. These representations exist within a virtual space which can, too, become our reality.

By using a cinematic makeup of colors for the installation, rather than the traditional rainbow, Gutierrez demonstrates our community’s ability to meld our worldview – our rainbow – with others through shared storytelling experiences, and beyond.

Now it's time to talk Sheith...

It’s time for the third leg of the Sheithllura dynamic. It’s hard to be really definitive about Sheith because they have a history that predates the start of the series. The reason Shallura and Kallura were easy to decipher was because their developments coincided with the unfolding of the main story. But Shiro and Keith have a backstory that the creators are saving for a later revelation. Because of this the Sheith ship is more open to a lot of theorizing and speculation. These two have been presented to have a relationship that is closer than any of the other relationships in the show (not including Allura and Coran) but the nature of their connection is purposefully being kept from the audience. And you can’t blame the writers for it. A good backstory adds a layer of depth that makes things more interesting and irresistible to watch. With all the mystery that surrounds this ship, the question to ask is…

Is Sheith romantic or bromantic?

The unknown backstory of Shiro and Keith makes it hard to get a read on what the writers’ intentions are for this pair. It’s basically a blank slate that they have created to experiment with their storytelling. They can choose to keep showing flashbacks to reveal something surprising about Keith’s and Shiro’s relationship. Until that backstory is revealed, its really hard to tell where the writers are going with Shieth. I got called out for analyzing only the straight ships of Sheithllura and while media norms may make it easier to clue in on heterosexual romances it doesnt mean I am dismissing Sheith because of it’s LGBTQ nature.

What makes Sheith different is that its presentation is not as straightforward as Shallura and Kallura. Those ships were pretty linear with their development. It had an arc as you see them develop from strangers, to acquaintances, to teammates, to good friends, to closer friends and then into something that can be much more. It all happens there on the screen along with the main story. But the story of Sheith is purposefully cryptic and mysterious.

The Rise of Voltron
The friendship of Shiro and Keith was one of the first things established in the show. Keith was set-up as a mystery guy, just appearing into the story with no introduction whatsoever, and Shiro becomes the key to unlocking that mystery.

Keith going all ninja and kicking those Garrison guys’ asses sets the stage for their adventures. It also sets the stage for the Sheith dynamic - a Keith that is always looking out for and saving Shiro.

But because this is the pilot episode of an action-adventure show, I would think that there is no romantic groundwork being laid out here. Everything that happens in this episode is in service of the main story - their quest to save the Universe.

After the initial reveal of their friendship not much is shown to develop their relationship. Most of Shiro’s story development happened with Pidge and Allura. While Keith’s interactions were mainly focused on Lance in a dynamic that was being set-up to be a rivalry (that could be something more).

Most of Keith’s and Shiro’s S1 interactions were set-up as a bromance as Shiro looks to Keith as his righthand-man (or wingman) as a parallel to Red Lion being the right arm of Voltron. While Keith looks to Shiro as his trusty (but sometimes fragile) teamleader and close friend who he has to support.

It is noteworthy  that Keith is the only one sensitive to Shiro’s fragility which can only be assumed is because they’ve known each other the longest. Keith’s repeated show of concern for Shiro seems to indicate that he is somehow aware of Shiro’s internal struggle.

A good example of this is when Keith suggests to not rescue Allura which many have pointed out as Keith hating Allura. But as I’ve mentioned in my Kallura post, this may have nothing to do with Keith’s indifference of Allura but more of him balancing out Shiro’s emotionality. He is playing Devil’s Advocate because Shiro is displaying an uncharacteristically rash behavior and Keith being his closest friend is the only one who can see it.

Other instances of Keith’s sensitivity was in Crystal Venom when  he immediately worries for Shiro when they figure out that the Castle is corrupted. And of course in The Black Paladin when Keith is the first one to notice the struggle between Zarkon and Shiro.

So all the moments of Keith’s repeated show of concern for Shiro could indicate some yet unrevealed aspect about Shiro that only Keith knows about because of their history.

Across the Universe
The relationship development for Shiro and Keith happens in what is definitely the Sheith episode of the series. Although  it can also be assumed that this not a development but an elaboration of what their relationship already is.

They crash into a desert planet and Keith is immediately worried for Shiro. By this time, Keith’s show of concern for Shiro is already a hallmark of his character.

Shiro is injured and Keith is frantically calling out for him on the comms. When they make contact, there is a subtle intimacy set-up with them being apart but being together on their comms. They’re so close but so far away.

Keith crosses the desert to get to his best friend (or true love) propelled by the lesson that Shiro imparted on him - patience yields focus. Shiro is touched by how Keith has taken his words to heart. Keith confesses to Shiro of the life-changing impact he has had on him. Shiro retorts with a joke. Heartfelt confessions and banter. They’re so cute with each other!

Their closeness is on display as this is one of Shiro’s most unguarded moments. He doesn’t speak to Keith in his serious leader-like tone but as someone who is really, really close to him (Josh Keaton’s voice acting is so good here). The audience sees this in the context of their unknown backstory and so the question becomes - How close are these two, anyway?

By the time Keith gets to his location, Shiro is being attacked by the desert lizard creatures. Keith goes to Black Lion to ask for help to rescue Shiro. Keith being able to pilot  Black Lion is one of those huge moments that has garnered a lot of fandom theorizing. But another thing to consider is that Keith’s feelings for Shiro may have something to do with Black Lion propelling into action. Many would dismiss this as an absolutely batshit crazy theory but Black Lion responding to Keith seems to indicate a “special connection” between Shiro and Keith which extended to the Black Lion.

After the rescue, Keith and Shiro rest by a campfire to wait for rescue. This campfire scene was obviously done to set a mood. If these guys needed warmth, I’m pretty sure the insides of the Lions have temperature control. So Keith and Shiro sitting outside, their faces aglow with firelight is meant to punch up the drama of what would happen next.

Shiro thinks he’s dying so he tries to pass the torch of leadership. Keith is in denial and it looks like his heart is about to break. This is one of the most emotional moments for Keith in the series by far and his face shows it all.

Of course this is a cartoon, so Shiro doesn’t die and they get rescued. But that sure was a sweet and tender episode.

Shiro’s Escape
I’m going to call this the Sheithllura episode as it seems to show the cross dynamics of these three characters on play here.

The episode begins with Keith being protective of Shiro again as he heals in the cryopod. When Shiro awakens, he is at odds with Allura. Most of the conflict in this episode is between Shiro and Allura but it seems Keith is purposefully getting in the middle of it as he takes Shiro’s side against Allura. 

Ark of Taujeer
Keith is being cryptic about his suspicion of being tracked by Zarkon. Shiro immediately picks up on this and asks him about it. This time Keith is closed off, they are not as jovial and candid with each other as before. Eventhough they are close, there are things he still can’t tell Shiro yet.

Blade of Marmora
After Keith’s runaway stint with Allura, the team is back to business as they look for the Blade of Marmora. This episode is one of the biggest story developments for Keith and understandably it happens with Shiro since Shiro is the key to understanding Keith.

Keith is sulky with the other Paladins for not being as serious about the mission as he is. Everyone notices Keith’s odd behavior but Shiro, being his closest friend, is the only one who can ask him about this. Keith is being evasive and secretive about his suspicions.

Shiro again reminds him of his wish for Keith to take over the leadership. Keith is still being testy and will have none of it. But this time Shiro serious. This is not some sentimental last wish of a dying man. It’s an instruction of a leader to his most trusted Paladin.

Keith undergoes the Trials of Marmora, against Shiro’s wishes. When Keith seems to be defeated, the hologram of Shiro appears as some reassuring figure for him. It is revealed that the suit reveals the wearers greatest hopes and fears, much like the 9th card in a tarot reading.

Keith is in his weakest and most vulnerable state and he longs to see Shiro. He wants Shiro to validate his cause and at the same time is afraid to lose him. When Hologram Shiro turns against him (his greatest fear becoming true) Keith bro-zones Shiro as way to cope with his emotions.

It’s safe to assume that Shiro is the most important person in Keith’s life right now. And Shiro knows it too as he doesn’t seem surprised by this, maybe owing to the fact of Keith’s confession in Across the Universe.

Keith learns of his Galra heritage and not much Sheith moments happens as the next few episodes focused heavily on the Kallura dynamic.

Belly of the Weblum
They have their sweet bro hug before the team part ways to go on separate missions and they do it in front of everybody. The fact that no one reacted to this seems to indicate that this is a normal occurrence between these two. Their private one-on-one interactions have definitely made these two closer. But they have always been touchy-feely with each other since the beginning of the series.


When Zarkon takes hold of Shiro and the Black Lion, Keith (for the gazillionth time) looks out for Shiro. He urges Shiro to fight Zarkons control. When it appears that Shiro has been disarmed by Zarkon, Keith rallies the other Paladins to keep on fighting to protect Shiro and the Black Lion. This is the beginning of Keith learning to be responsible and take charge of the team.

And so S2 ends with the disappearance of Shiro and Keith will no doubt be the one who will be hit hardest by this. With Shiro gone, Keith will have no one to look to for guidance plus he has the added burden of filling in as leader for the team.

Looking at all the Sheith moments, it is very clear that these two care very deeply for one another. But so much mystery surrounds their relationship. How long have they known each other? How close are they? What did Shiro do that changed Keith’s life? Have they always been affectionate with each other? What is the nature of their relationship?

With so much unknown factors about Sheith, I will go into a little bit of theorizing and speculation.

First, the main thing that makes Sheith register as a bromance is the lack of tension between them. We never seen them become antagonistic towards each other. We never seen them become conflicted about the other. We are never shown the other characters react or comment on their dynamic. It’s always supportive and nice between these two. 

Because we never see these two having to resolve anything between themselves, their relationship remains the status quo - an established friendship based on mutual respect, admiration and trust. Any kind of intimacy can be attributed to that close friendship.

While this is good for a healthy romantic relationship, this is storytelling we’re talking about here so some tension and conflict is expected to signal a development in that relationship. And until that is shown on screen or talked about in the script, we cannot be truly sure of what the writers intend Sheith to be.

Second, much of the affection in the Sheith dynamic is coming from Keith’s side. Shiro undoubtedly cares for Keith but most of his approach of Keith is somewhat brotherly and sometimes professional. And while Keith displays a singular devotion for Shiro, Shiro has displayed some individual fondness for other characters - Pidge, also in a brotherly fashion and Allura, in a somewhat romantically interested way. And so Sheith coud actually be just one-sided pining. The unrequited love trope coming into play.

Interestingly enough, when you look at the Sheith, Shallura and Kallura dynamics, you will see that most the affection is slightly one-sided.

In Sheith, Keith shows the singular devotion to Shiro. Shiro reciprocates the love and the care but not as intensely and his affections are not as hyperfocused on one person.

In Shallura, Shiro is the one always showing fondness for Allura. While Allura has shown that she cared for Shiro (i.e she sacrificed herself to save him) her reaction to his display of affection was somewhat vague and not very foretelling.

In Kallura, Allura explicitly showed her fondness (and maybe interest) for Keith with her heartfelt apology and hug. Keith reciprocated the hug but his reaction was also somewhat vague and not very foretelling.

So Sheithllura might actually be the Bizarre Love Triangle trope (I had to google what it was called) where Keith likes Shiro but Shiro likes Allura but Allura likes Keith. So all of their affections are unrequited and no one ends up with no one. I may have to explore this in another post.

Third, the VLD team have irrevocably shown their love and support for Sheith. It is the first ship they have promoted to the fandom outside of the actual content of the show. And while the producers and the talents have expressed a liking for other ships, Sheith has the distinct honor to be featured in their social media and have supplementary artwork from the creators themselves. From a marketing perspective, it seems highly suspect for showrunners to promote an endgame as early as the 1st and 2nd seasons, when there are 4-6 seasons still to come. Why would the producers push an OTP so early on in the series when they would actually want to build mystery to keep people tuning in on their show? So all these mentions of Sheith could just be a test to see how fans would react to it or it could be a red herring to create more buzz for the show.

So in the end, we can’t really tell what the writers want to do with Sheith. This is a ship whose story they are purposefully keeping vague and mysterious. And Joaquim Dos Santos and team are keeping their cards very close to their chest.

While reading stories and fics to see how writers stylize their works and build their emotional themes, these were the patterns that came to mind about FE vs FI Storytelling: 

fi+ne/si storytelling focuses on building the narrative into one single intense experience, usually emotions or themes legobuilding over another which makes themes of romance or death, the extremes, a popular topic. events in a story are written episodically, described as discrete states and snapshots of an event. events are described as how they are: A, B, C. there is a fewer cast of characters and if there are many it is obvious who the constant main character is. there’s way more analogies and comparisons, “X was like” “and did Y as though”. regular objects are described as metaphors (”the slivers of moon guillotined itself across the room”). everyday objects are described as what they resemble rather what they are and has an enchanting quality.

what to consider– the only person who actually values that fi intensity is you. sometimes that’s the reason your story is so inaccessible though. to you, it may be a complete unraveling of that hard-earned fi experience but to others it can come across as inert storytelling. you introduce anecdotal variety with slapstick and even shallowness. there is an inclination to over describe what body languages and facial expressions mean rather than letting the physical space around the characters imply what’s going on and leave impression for readers. a majority of fanfic could be simplified without needing to dig for SI experiences and I suspect the writing process would go faster as well. 

fe+ni/se storytelling tends to be in constant flux and several plots move at the same time. events tend to be written in a continuous sequence rather than snapshots, described in terms of how events A lead to B to C, how things move and change across time. they are more inclined to describe facial and  body expressions changing (but not necessarily what they mean; you are expected to know). there are usually multiple main characters. writing style has little to almost no analogies. for example the aesthetic of objects are described as they are, but very pronounced in descriptors of sensory experience. the writing style is more straightforward. but when describing an emotion they tend to describe others’ reaction and interaction with that emotion rather than a standalone experience. 

what to consider– fe storytelling easily engages readers but one major pitfall is when you introduce too many characters and try to use that character as a tool to change major plot points then each person’s role becomes too predictable, serves a single purpose, and then their role gets lost in a tide of more interesting and new characters with no sense of balance. with so many names and faces it is also hard for readers to remember who’s who. newness and novelty doesn’t always change all preexisting conditions. even though you could be highly aware of tropes you could inadvertently end up writing into them, choosing based on what you think should naturally and reasonably happen, especially with topics of humor. easiest way to avoid tropes is the think about the formation of a single personality through their past experiences. 

The Girlfriend Experience

By Ashley Taylor 

For my angry ego.

She wants a turn



The perfect girlfriend experience is a series of words, events and dates that all cohesively go together to create this monumental experience for the man before you, all in hopes that you will receive some sort of accolade since it’s a man’s world after all. There are a few rules that need to be addressed before you can go out into the world and give these lucky men such a wonderful experience. Please note: I do not guarantee that you will receive a last name or a ring if that’s your prize of choice. The Prize of choice is POWER.

Rule I: He Doesn’t Give Two Shits About Your Friends; Care About His.

“They’re at the bar,” I yell over the 80’s Rock playlist blasting through the bar. It’s packed tonight. People rushing in from the brisk Chicago winds. “I’ll find a table.” We walk together, my friend and I, and my hands touch his back. He doesn’t turn and continues to speak with his friends, all which I know by name and something about them to make them stand out.

The man on the end is Gabriel, he’s into beer. A lot. Can tell the different tastes of each one. They all taste like pure piss to me. The one in the middle is Craig. He’s the funny one of the group, constantly telling jokes. All that are weird and usually either inappropriate or distasteful, depending on the circumstance.

Finally, the big man himself: Mr. Michael Anderson. Early 30s.Ten years my senior The youngest one of the group,and the most successful. He trained athletes and occasionally coached some travel team hockey teams,and he was the one my hand currently still rested on. As Gabriel finished talking, his gaze turned toward me and smiled. His eyes moves to my shirt and brighten. His Led Zeppelin shirt as if I gave two shits about this band. He asked a few questions, all shallow and small talk, and I adverted to the boys beyondside him asking him the same fucking small talk questions he had asked me.

This was our lives.

My eyes glanced over at the bartender, and I waved him down.

“What can I get you?”

I leaned across the bar as close as I could get.Attention. You can get me some sort of attention. I looked into his brown eyes. He wasn’t particularly attractive, but his eyes slightly lingered on me. Michael so absorbed in conversation to my knowledge, didn’t notice a thing. “Two Martinis. One Dirty.” He nodded keeping his gaze and my eyes moved to his hands.

A familiar hand grabs my waist and I turn back into the conversation. “Did I tell you what happened today? One of my clients decided that it would be hilarious to make this video.” Fake laugh. He won’t even notice. He pulls up his phone and the guy are dying, and I started to laugh alongside them and supporting his ideas.

Men don’t care about your friends. You have to care about theirs, and get ready to accept the “cool girl” comments. “Oh your girl is so cool.” I needed to dodge that part of the conversation by grabbing the martinis off the bar and walk to my girl who had found another one of our friends to chat with.

“We were just talking about you,” Amy said.

“About me?”

“We don’t know how you do it,” our other friend, Teresa said.

“Do what?” I was completely playing dumb. I knew exactly what she was saying.

“You hate him, and yet you’re the sweetest to him.”

I laughed. I didn’t hate him, but he was never my favorite person.

“That’s just the girlfriend experience.”

“What?” Amy questioned.

I sat next to her. “Men don’t give two shits about the things we aspire for. They care about the next thing for them. The newest, youngest, hottest girl-”

“Janae, you’re crazy,” Teresa said. Drinking from Aimee.

“Not at all,” I quickly responded. “One day it will be my turn. Whether he knows it or not.”


Moral Orel and Working the Camera: How filmakers use camera angles, lighting and staging to control the tone of a scene.

So a while back in my Screen Design class our professor went over an important lecture that forever changed my view about film and storytelling. I knew this somehow subconsciously, but it was finally put into simple words. How you set up a shot will automatically give the audience a perception of the mood, and it’s surprisingly formulaic! Even though it’s a formula that you can use to create many beautiful shots. If you’ve already been studying film this comes as no surprise to you, but I know many of my followers and friends who have not had the resources to study film but want to do comics and learn visual storytelling might find this cool. There are great books I would recommend on a later date for those people to read, but today I want to talk about the camera and its use in storytelling.  Each of these images has a little blurb about me rambling about the set up of a shot.

 I love studying stop motion animation. It combines the things I love about live action film with the things I love about animation. In live action film, everything you have to work with is something that already exists in physical space - the lighting is from a real light source, lights, sun, and the physical camera (even though you can and often do many more camera movements during the compilation process.) But in a stop motion cartoon, it is entirely fabricated objects being shot and manipulated to move, just like in animation, where everything in the process is made from scratch. 

Moral Orel is a show famous for its extreme shift in tone from the end of season 2 onto season 3 - starting off as a lowbrow comedy and shifting into a heavy character driven drama. And you can bet that the camera has a lot to do with that!
Looking back on season 1, my film theory professor was right - there are a lot more “flat” shots than in seasons 2 and 3, and the entirety of the Nature episodes were shot as traditionally like a drama as possible. 

So if you are experimenting with visual storytelling, I have made a quick and handy guide for you to keep in mind! Hopefully my examples work even without the context of the series.

Keep in mind everything I am saying here does not apply to all films ever made and you can certainty break rules but experimenting with these techniques can lead to great shot choices.

spooky storytime with ur local mod

you all are sending me such  nice stories and i want to tell my stories here i g o

so basically I used to live in a very,very old building, like from the 15 hundreds (Im p sure if any house is haunted, its that one) and I’ve always had this feeling that someone was watching me, I couldn’t locate what it was but something (my child brain always imagined the monsters from childhood monster books xD). (it didn’t help that my elementary school friend told such believable stories about a ghost) I still feel like something will attack me when I’m in my old home alone.

I’ve often seen things, but mostly only from the cornor of my eye

The first “experience” I’ve had was when I was around 9. I was out in the woods at night, around 7-8pm, but it was autumm so it was already dark with my father. I was jumping around, being a happy girl, when suddenly a car came towards us (in that forest,cars are allowed to drive on some paths) and it halted. And it that moment I swear I saw something defiently nonhuman, nonanimal run through the headlights and into the forest. could it have been my imagination? Very likely, since my father can‘t remember seeing anything, but it was still terrifying for me.

The next thing that happened was when I was out with my family for dinner, (i was around 13) and we were driving home in the dark. I was in the passenger seat and my aunt and cousin in the back.
At some point, we took a wrong turn and ended up somewhere infront of a path of trees. My mother wanted to turn around, but immeadiatly slammed the brakes when she and I saw something - a weird white “shadow” of the sort floating in the air, before vanishing into the trees. All of us saw it.

The next thing that happened was shortly after, I was up p early on the weekend, around 8am, and I was bored, so I decided to watch some anime/lets plays, so I sat down at my desk and opened my laptop, when I saw a sitting person on my windowsill out of the corner of my eyes, but when I wanted to look at them they vanished.
Later that day, my mom came into my room and seemed surprised I was in it, and i was like “lol why”. She then explained she saw something around my height run past her in the hall towards the living room. No idea what happened there.

Also, I’ve kept hearing breathing behind me at night, with no one there for at least 4 years now. Weird