going to the village

anonymous asked:

Hi, sasuke shiden and sakura pregnancy anon again. I see what you mean, their relationship would need to go fast but somethings i think shonen mangaka authors dont really put much into stuff like this (eg dbz). Kishi may not have thought about bonding too much and assumed ss had enough of a bond anyway. So its possible to go: 699 sasuke leaves -> sasuke returns to village in shinden (age 21 or 22) -> ss conceive, sasuke leaves -> sakura finds out shes pregnant and chases him (as karin mentioned)

Okay but firstly, Kishi definitely thought about bonding first. With all the emphasis that he placed on how their feelings were constantly connected, how Sasuke’s heart was connected to Sakura’s, and how the love between them was “the real deal”, there’s no way he would have allowed them to just rush through their relationship and have a child when he put so much emphasis on how strong their bond was. To further reinforce this, Kishi had NH wait another two years before allowing them to get together. These aren’t matters which Kishi would allow to be rushed.

Secondly, Karin did not mention that Sakura found out she was pregnant and chased after him, that is not what she said. It may just have been the way you worded it, but that made it seem as though you think that Karin said that Sakura found out she was pregnant, and then subsequently chased after Sasuke, because that’s not what was said.

I’ll show you exactly what Karin says in each translation.

In the (inaccurate) MangaPanda version, Karin said that Sakura chased after Sasuke, they travelled together, and then Sarada was born at her hideout:

She didn’t say Sakura found out she was pregnant and then chased after him.

In the MangaStream version. Karin said that Sakura refused to leave Sasuke’s side, so then she gave birth at her hideout:

She didn’t say Sakura found out she was pregnant and then chased after him.

In the official Viz version which is the most reliable one, Karin stated that Sakura chased after Sasuke, they travelled alone together, and then Sarada was born at her hideout:

She didn’t say Sakura found out she was pregnant and then chased after him.

It isn’t stated, nor is it even remotely implied anywhere that Sakura caught up to Sasuke while already pregnant. So to be honest, I’m very puzzled as to why so many people are so adamant about believing this to be true.

anonymous asked:

so yeah he wants to go in the village they ask for his id and he's so cute bc he makes up an excuse why he doesnt have his license so we get in and he drops us off near my street bc my mom would kill me on the spot if she saw me get out of a car with boys in it like no chaperone or anyone. so i thank them both and they drive off and i realise my mom told me she would pick us up at the gate holy shit i forgot to mention that my mom called while i was in first dude's car... (part 6/?)

dude couldnt you just wait for ur mom tho :o

“Inanimate” (”Beauty and the Beast” 2017 movie-verse fanfic)

What if Beast transformed back into human, but the Enchantress chose for some mysterious thinking of her own, not to do the same for the now inanimate objects that once were human? 


As he strolled hand in hand with Belle into the castle, the prince could feel the hairs on the back of his neck stand. Looking up at a window, he saw it still appeared like a dark pre-dawn morning, with no sign of the sun peeping out through the clouds. Glancing at Belle, he could see that she too looked unsettled by the peculiar silence of the castle, but for the distant sounds of retreating villagers going quieter by the second. 

It’s far too quiet, the prince could hear his own blood pumping in his body in this quietude. Eerie.

It was the kind of silence where you just knew something was not right. No distant melody of a harpsichord, no constant ticking of a clock, no nothing.

“Belle…” he began, his whisper trailing away at once–even that had sounded like a shout.

“I feel it too,” she agreed, whispering just as he had.

Unbidden, snatches of reminders from past conversations of the servants with him came back.

I grew two more feathers today…”

“I grow more metallic every day…”

“Garderobe is finding it harder to stay awake…”

His hand tightened on Belle’s, feeling hers respond in kind.

“The servants.”

He could not hear his servants–and yet shouldn’t they have come to see what happened? Judging by the retreating villagers, they had managed to stave off the siege on the castle. Did they not see what had happened? Would they not have heard the gunshots?

Perhaps they too escaped with the villagers. I wouldn’t blame them either.

No, they’ve been so loyal to you all these years.” Belle assured him, quickening up her pace to keep up with him, “They loved you despite everything.”

Had he really said that aloud?

“I don’t think they would just disappear on you even now.”

He stopped short as they entered into the same part of the palace where the Enchantress had bestowed the curse so many years ago, even upon the unwitting servants and other visitors of the castle, including Maestro Cadenza and his wife, Madame Garderobe.

The Enchantress said nothing about the others, had she?

Didn’t they deserve to come back too?

Certainly more deserving than I ever did.

He had to find out now. He had to look for them, wherever they were–praying fervently they weren’t–had not become–they couldn’t be inanimate.

I need to find them.

Letting go of Belle’s hand, he pelted off at a mad run, Belle right behind him, bare feet slapping on polished marble and stone as they tore for the main entrance where the battle had been coming from.

Maybe the Enchantress is still transforming them back to human.

He had to stay optimistic, had to stay hopeful, even in the face of this horrible oncoming trepidation. Behind him, he could hear Belle always just a couple paces behind him, almost as breathless from exertion and fear as he was.

The prince stumbled to a  stop when he tripped over an upside-down footstool on the outside landing leading out of the castle into the main courtyard. At exactly the same moment, he heard a horrified cry from Belle.

“Madame Garderobe!”

Whirling around to look behind him, he saw Belle had clapped her hands over her mouth, eyes wide with horror as she stared at what had once been an animate wardrobe that once had a chance of becoming human again. He turned his head to spy a harpsichord behind him–Maestro Cadenza. The prince guessed at once that Garderobe had somehow managed to find a way all the way down here to join the battle, and now here she was much too still across from her also chillingly still husband.

Belle gasped again. “Adam look! It…there’s more down there!”

A chill like nothing he’d felt before ran through his whole body, heart thudding in his chest, stomach sinking and turning with nausea. He tried to control his voice, not let it shake, tried to be as calm as possible when he asked Belle what she saw behind him standing on the courtyard.

“Have a look for yourself.”

The prince shook his head, “Tell me, so I might…prepare.”

Belle first took a couple deep breaths, both her hands clasping his to her heart. Closing her eyes, she bowed her forehead on their hands before raising her head up again to look behind him.

“There is…” she faltered, “a teapot and cup on a tea tray.”

The little boy never deserved such a fate, and nor did his mother.

“…a clock.”

Cogsworth.

“…a cloakhanger, a candelabra, and feather duster.”

Chapeau. Lumiere. Plumette.

It could only mean one thing: the last petal had fallen after all.

Too late for his servants’ lives, for his…

Wait.

He watched as Belle bowed her head, tears dripping from her eyes.

“The last petal…” she rasped, “It had fallen.”

Wait. Something doesn’t seem right.

If he was no longer a beast, but human now, then the last petal couldn’t have fallen. And yet…

Too late. It was too late. Maybe the petal had not fallen too soon for Belle to confess her love, but fell too soon to save his servants and the visiting opera singer and her husband, the Maestro Cadenza.

Steeling any pitiful scraps of will he had in him, the prince inhaled a deep breath and slowly turned around to be confronted with what would appear to the unaware observer as a pile of rejected knick-knacks waiting to be taken to the nearest second-hand shop.

“Oh no…”

Holding on tight to Belle’s hand, interlacing his fingers between hers, he slowly made his way down the remaining steps to the assortment of object that once were his own servants.

The first thing–no, servant–he passed was the cloak hanger, Chapeau. He had now become just another ornate cloak hanger one might see in any wealthy Frenchman’s home. Adam might not have been close to him, but it ripped at his heart all the same to see what had become of him. No one would know this cloak hanger, like the other now inanimate objects, had once been human.

Then–the tea tray, with Mrs Potts and her son–now looking for all the world like an ordinary teapot and cup. He couldn’t look at them a second longer, heart aching as painfully familiar grief of the loss of his mother came back to him. After the loss of his own mother in childhood, she had become the next closest thing to one. 

This was at my own hand.

Past the tea tray and cloak, not more than a few feet away were Cogsworth, Lumiere, and Plumette lying a metre away from the candelabra. Already, Belle was walking over to the feather duster that once had been Plumette, and gently lifted her into her hands to lay it–no, not it, her–next to the candelabra.

Adam, sure his legs weren’t going to hold him up much longer, quietly moved to kneel beside Belle, eyes roaming over the still clock, feather duster, and candelabra. He could only look a second at the feather duster, the lifeless red “eye” reminding him all too much that once this had been a servant too. A servant in love with another–Lumiere, now just an ornate golden candelabra with “arms” that twisted and spiraled around the bases of the flameless candle holders. The candelabra looked now mostly a candelabra but for the face that, to anyone else would appear as an intricately skilled mark of craftsmanship, right down to the fine lines in the facial features. No one except the prince would ever have known that this was once a real, human face. It agonised him to see those features too still, too lifeless, as though he were looking at a dead man, which, in a way, he was.

Lumiere was never supposed to be without life and energy.

“This was my doing,” the prince mourned in a soft voice–he wasn’t sure whom he was speaking to–the servants or to Belle? Perhaps both. “I failed to set you free.”

Am I still as cruel as my father?

He certainly felt it to be so, unable to bear looking any longer at the inanimate objects before him, knowing this was another cruel display of the Enchantress’s magic. Belle’s hand slipped into his again, interlacing their fingers together. He held on, never wanting to let her go again, lest she too slipped away forever like the servants he had come to consider like a family of sorts.

He found himself wondering if it had been really worth this, turning human again, only to find his servants had not. Belle loved him as a human now, but she also had loved him while he was still a Beast. Yet, he would not hesitate to choose to become a Beast again with no chance of returning to being a human, if it meant his servants’ lives could be restored. At least they would be free. They could escape this castle, escape the Beast, and live full lives in the village.

Now, sitting here next to Belle, her hand in his, he felt more helpless and alone–despite her very presence–than he ever had as a Beast the past many years.

“I would become a Beast again, Belle, if it meant they would be free as humans again.”

Belle held on tighter, wordless, yet speaking many.

Okay, so to follow up on the previous post, based on the artbook the Ram villagers go down stair-step fashion: Gray is taller than Tobin is taller than Kliff (who is all of 15 yo) and Faye is, ah, smol. The Pegasisters go in descending height by age. As for the RGB component of the Gay Entourage, Forsyth is the Big Man and Python is slightly shorter and then Lukas is indeed the shortest of the three in that his eyes are at the same level as Forsyth’s mouth or Python’s earlobe. He’s not *that* tiny and it’s not impossible that he could hold the other two apart during a fight as per the DLC. Which actually jived with my impression of them– Forsyth & Python are *tall dudes* and Lukas is not your typical armor-knight colossus. He’s also not a waif by any means (hi Kliff). But I am 100% on-board with this.

There’s a bit in Wonder Woman that I can’t stop thinking about. It’s the part where she walks towards General Ludendorff at the gala. He see her and starts walking in her direction as if to attack, then surges towards her and grabs her in a kind of dance hold. She’s stunned, frozen. It’s probably the only time in the film where Diana looks afraid. 

Why? 

Because she was attacked, but in a way she’s never encountered before. She’s been trained to handle “honest” attacks, where the attacker makes their intentions clear. But here she is attacked in the way women in this world are so often attacked. It’s an unwanted, unwelcome intrusion, a man putting his hands on her without her consent, intruding into her personal space in an aggressive, obtrusive, threatening manner. But to bystanders, they are simply dancing. She doesn’t know what to do. She’s trained her whole life to deal with honest, open attacks, but faced with the sneaky, faux-polite attack of this kind of man, she’s completely lost. 

I thought this was a great moment. It reflects the experiences of so many women so well. 

On a side note, I mentioned it to my (male) partner afterward, and he hadn’t even noticed Diana’s reaction in that moment. He’s a great guy and a good, kind person, but his obliviousness to her confusion and fear speaks volumes about the different experiences of men and women in our society. 

6

Disney’s Beauty and the beast cast Is Gaston a villain or misunderstood?

I see him as the biggest villainous threat in any of the Disney films. He has no special powers. He’s not Jafar, or Ursula, or Maleficent. He’s a human being! He’s an arrogant, narcissistic, bigoted, chauvinistic, self-absorbed man who, once he’s told no, is driven by jealousy and revenge to fuel the fear of quite an idiotic group of villagers to go kill something they’ve never seen before. I mean, it resonates massively to what’s happening in the political climate throughout the world now. Luke Evans

  • Belle: Papa, do you think I'm...odd?
  • Maurice: My daughter, odd? Now where would someone get an idea like that?
  • Belle: oh gee Papa
  • Belle: I dunno
  • Belle: Maybe it's the fact that every time I go into town literally the entire fucking village, including the children and the fucking criminals, performs a perfectly synchronized, highly choreographed number about how much they all hate me and think I'm weird
  • Belle: every fucking morning
  • Belle: I just want to get some groceries Papa
The 8 Steps of a CHARACTER ARC

You know that moment as a writer, when you’ve been charging through the story, high on how fantastic it is, and then suddenly…it all STOPS.  The next scene doesn’t form in your head. You’ve got nothing. 

Behind your characters, a string of bright and captivating scenes mark the trail of that rocket of inspiration; ahead of your characters, a foggy expanse, stretching to who-knows-where, a few shapeless blobs that should be scenes floating in the nothingness. The rocket is dead, and not refueling any time soon.

Well, to everybody who’s suffered this, or is currently suffering it, there’s a way to navigate through that fog. A map. Directions and a destination.

Or, more specifically, events that form the underlying structure of the story. 

This post is going to focus on one facet of story structure: character arc. Structure is something people subconsciously recognize and expect, and if the story doesn’t match those expectations, they feel cheated (though usually can’t explain why). Every good story follows a structure. So if you know structure, you’ll always know where to go next, and won’t get lost in the fog. 

So here are the 8 steps of a character arc:

1) Hero: Strength, Weakness, and Need

This happens in the setup of the story, when the main character’s ordinary world is being introduced. First, the main character’s strengths must be displayed; we must be given a reason to like them, or if not exactly “like” them, empathize with them, and be fascinated by them. The reader needs to bond with the character, feel concerned about how it all turns out for them. Or in other words, feel that the main character is worth experiencing the story. There are easy traits that do this: courage, love, humor, being in danger, being unfairly treated, being highly skilled at something, having a powerful noble goal. (Courage is the one they all need. If the character doesn’t have the gumption to actively pursue what they want, they are automatically a background character.) 

After this, still in the beginning of your story, let the character exhibit what needs to change. Show their weaknesses of character and self awareness.
And lastly, hint at what they NEED to learn. Sometimes this is even stated to the character, and they don’t understand it, refuse to believe it, or condemn it. Like “A Christmas Carol”, when Scrooge’s nephew says his speech about Christmas and how wonderful it is, and Scrooge replies “Bah Humbug!" 

2) Desire: This is the moment when the character knows what they need to pursue, in order to obtain what they inwardly want. It is not the inciting incident or catalyst, the event in a story that disrupts the ordinary world and calls the hero on an adventure. This is a separate step entirely, occurring after that catalyst has shattered life as the main character knows it. They believe obtaining this goal will calm whatever inner turmoil or conflict they’re battling. And always, they’re not quite right.
Think of Mr Fredricksen: His goal is to get the house – a  symbolic representation of Ellie and the life he shared with her – to Paradise Falls, which he believes will heal his grief and guilt. It won’t. Once he obtains it, the achievement feels hollow. But I’m getting ahead of myself. So on we go! 

3) Plan: Once in Act Two, the character is going to scramble for a plan of action. The inner want has solidified into a tangible goal, but they need a strategy to achieve it. This also spells out for the reader what to expect in that second act.  

4) Conflict: What’s going to try stopping them? A hero with a goal is one thing, but to make it a story we need something that stands in the way. An obstacle. A force of opposition. If we didn’t have obstacles, books would be as interesting as "Harry Potter and the Trip to the Grocery Store.” (Although honestly, I’d probably read that.) After the catalyst has changed everything, after the character crosses the threshold into Act Two, everything from here on out will be laden with conflict. This is usually when enemies, or more accurately forces of opposition, begin to appear. Everything is accumulating to complicate the main character’s pathway to achieving what they want. The forces of opposition come from not only the villains, but from the actions that have to be taken to achieve the desire. Whatever this action is, it’s exactly what the main character is not suited to do, an action that pressures their flaws, exposes them to exactly what they need to become but can’t right now. 

Like Stitch being forced to be the family dog. He’s not suited to this task.

5) Battle: The forces of opposition are amping up, growing stronger, fighting with greater intensity. The main character is taking the punches and working around them, relentlessly plowing forward. Hero and allies are usually punching back too.

6) Midpoint: This is the event where they first encounter what they need to learn, what they need to become. Something happens that forces them to behave in this new, life-saving way. But once they’ve seen it, they don’t know what to do with this knowledge. 

7) Dark Night, Revelation, Choice:
This is always the darkest point in the story, where all seems lost, and death – of a literal or spiritual nature – is in the air. And in this moment, something usually happens that makes the main character wake up to what is wrong, and what they need. More often than not, this revelation will arrive from the “love story” or relationship of the plot, and will be the thing that helps them pull themselves out of despair and see the light. And once this is uncovered, once the revelation of the truth about themselves is recognized, they are faced with a choice. Of course, they’ve been faced with choices in every beat of every scene, but this is the big choice that is going to determine if their story has a happy ending or a tragic one. The choice is this: “You are being faced the truth that you need to heal. Are you going to choose what you need, let your old self die, and become someone better?” And always, always, always this is a hard choice. The revelation must be significant to them. And it’s never easy. It can’t be. We don’t write stories about heroes who make easy choices. Villains have it easy. Are you going to adopt this new way of living, adopt this truth, and let your old self die? Or are you going to stay the way you are (which feels safer and is much less challenging) but end up stuck in a sort of living death? Most of the time, of course, they choose the right thing. 

This moment is usually always the saddest scene in the thing. Like this scene with Stitch.

8) New Life: This is their changed life. After experiencing the trials of the story, after realizing what they need and choosing to be reborn, they are going to be different people – and are going to live a different life. This is what follows the statement “And every day after …” What has changed? Show the audience how things are different, how things are better, because they want to see that. This is the resolution, the wrapping up of everything we’ve been through with the main character, and having this in the story is often what gives that feeling of satisfaction after seeing a really well-told story. 

So! To show off how this works, I’ve chosen the character arc of Carl from Up. 

1) Hero: Strengths, Weakness, Need

Strengths: Reasons to like Carl are packed into that heartbreaking opening sequence. By the end of it, we love him, love Ellie, and are crying our eyes out.

Weaknesses: Now Carl is curmudgeonly, grumpy, cold, and won’t pay attention to a living soul. He’s also plagued by grief, regret, guilt, and loneliness. (Which we are all 100% okay with, because we already like him.)

Need: He needs Russel. The statement of what he needs to learn isn’t outright said (as it will be later) but Russel represents it. 

Step Two: The catalyst was when a truck knocked down Ellie’s mailbox, Carl hit a construction worker in the head with his cane, and for this a judge declares him a public menace and orders him to go to Shady Oaks Retirement Village. The DESIRE is this moment. 

Carl escapes in a flying house, thousands of balloons lifting him skyward. He even says the desire of the whole story out loud, “So long boys! I’ll send you a postcard from Paradise Falls!” The tangible goal is “live out the rest of his days in his and Ellie’s house, on the edge of Paradise Falls, South America.” (“It’s like America … but South.”)

Step Three: The plan and the conflict overlap, as they are wont to do. We have a scene where Carl is unfurling sails, setting a compass, and settling back in his chair for a smooth journey. But later on, after some conflict has arrived, we have Russel figuring out how to actually make it there. And after even more conflict has arrived, we have him telling Russel “We’re going to walk to the falls quickly and quietly, with no rap music or flash-dancing.”

Step Four: The moment he settles back into his armchair, high above the city, and here’s a knock on the front door, nothing is going to be easy for Carl. First, we have opposition in the form of Russel. Then we have a storm. Then the house lands miles away from the Falls, so they’ll have to walk it. Then we have Kevin, the giant bird. Then we have Dug. Which means they’re also being chased by a legion of talking dogs. Which brings us to Muntz, the main villain, and Carl’s shadow – the representation of Carl’s flaws, and the consequences of refusing to let go of the past. 

Step Five: This is the trek to the Falls. It’s also the battle with every complication that arises. And it’s also exactly what Carl is not suited to do. He’s a curmudgeonly old guy, bent on living out the rest of his life alone. Well, the story says “Nope, Carl, that’s not how it’s going to be” and promptly gives him a surrogate grandson to take care of, a dog who adores him, and even a giant mythical bird. And he has to lead them all, if he’s going to get to the Falls. 

Step Six: The moment when Russel invades Carl’s heart. Which is what he needs, but he doesn’t understand. (I have the scene beated out in the previous post.)

Step Seven: Finally, he gives in to the worst of himself and chooses his goal of living in his broken house on the edge of Paradise Falls. But somehow this doesn’t feel like victory. He’s still alone, next to Ellie’s empty chair, and she is still beyond his reach. 

He picks up her adventure book, and leafs through the photographs, missing her; he pauses on the page scrawled with the words “Stuff I’m Going To Do”, lets his hand rest on it, grief and regret overwhelming him. He begins to close the book, and the page shifts … revealing the edge of another picture. Surprised, he turns the page. It’s their wedding picture.

Ellie added picture after picture of their happy marriage, the whole wonderful life they shared, all the things she did. And on the bottom of the last page is her last message to him: “Thanks for the adventure! Now go have a new one! Love, Ellie.” Exactly what Carl needs. He doesn’t need to be guilty, he doesn’t need to regret the past. The past was beautiful, and she will never truly leave him. 

Choice: So, Carl can make the choice to throw everything out of the house to go save Russel. 

New Life: Sitting on a curb, eating ice cream with Russel.

In the credits, we see a whole new life – or new adventure – with Carl, Russel, Dug, and even a bunch of new puppies.

So, it’s actually pretty simple. And once again, it’s fun to develop your own stories like this, but it’s surprisingly fun to analyze movies and books with it too. It improves your storytelling ability, I’ve found. Practice makes perfect.

I hope this post helps somebody out. It’ll make the ten times I cried while writing it, while watching scenes from Up, worth it.

look at me - i will never pass for a perfect bride

so i know i already made a retold mulan post but i just LOVE MULAN SO MUCH so here’s another

in the original myth mulan isn’t really a clumsy fish out of water. she’s strong and smart and the reason she goes to war is because she’s the most qualified person in her family to fight, regardless of gender.

so how about this: mulan’s a fighter. she knows exactly who she is, like in the original myth, she’s knows how to be the blossoming flower and the great stone dragon. she’s still mulan though, so she still doesn’t memorize the silly ways she’s supposed to be a good wife and has little patience for appearing graceful while pouring tea. she’s innovative and courageous and beautiful, but no one is under any illusions about what kind of wife she’ll be.

and the matchmaker is the matchmaker for the li family as well, for this great big part of china. and general li wants his son to be married before he goes off to war, wants his son to have a reason to fight to live, like a wife waiting for him. and the matchmaker reads the stars and the tea leaves and the astrology charts, and no matter what all the signs point to one thing: the honorable li shang is destined to marry the insolent, arrogant fa mulan.

the matchmaker isn’t going to let that happen, she refuses to be responsible for that disaster of a wedding. so she sends her most beautiful girls, the ones that are obedient and quiet and know their roles, the ones that are eager to marry into the li family.

and each of them are entertained and met and sent back. shang is many things, but smooth isn’t one of them, he has nothing to say to these quiet girls who smile at him, feels large and awkward around their polite smiles. so he and his father go to the matchmaker’s village, shang reluctantly and his father to demand she stops messing with them and provides a proper bride.

it’s on the day that mulan and the other girls are parading in the street. shang sees a girl - mulan - hurry into the end of the line, jumping over a bench and darting around a careening wagon to get there, and stifles a laugh.

then there’s no reason to laugh at all, because a group of huns have decided that this village is in their way, and attack.

everyone scatters, women hide, children hide, and most of the men do too. shang and his father join the fight with some of the other men who hadn’t hid, and these men are starved, clearly not with shan yu, so even though they’re outnumbered they’ll likely win.

shang sees a hun go to attack the girl he’d seen earlier, the girl for whatever reason hadn’t run and hid. the hun raises a sword above his head to strike her down, and shang is so sure he’s about to see this pretty girl lose her head.

but she doesn’t. instead she rolls out of the way, and pops up, headbutting him in the stomach. she takes his sword from his now-slack grip and plunges it into his chest. without hesitation or pause the girl joins the fight, swinging the sword expertly and cutting down every man who stands against her. soon they’re fighting back to back, and shang has never felt more in sync with another person. she cuts off the head of the last hun, and shang has never seen anyone more beautiful than this girl, dress ripped and make up smudged and covered in blood that isn’t hers.

“mulan,” one of the other girls says, peaking out of a store front, “is it over?”

the girl, mulan, looks out over the dozen dead men and says, grimly, “it’s barely begun.” she searches the crowd, finding and old man and yelling, “gather the bodies, we’ll burn that at dusk outside of the village. everyone else,” her eyes sweep across the gathered people, and shang is struck by the fact that this girl isn’t well liked. there’s anger and disapproval in many of the faces, but they’re listening. these people don’t like her. but they do trust her. “let’s clean this all up. these were bandits, not soldiers. there’s nothing more to fear.”

“what if there are more?” the other girl asks, arms wrapped around herself.

mulan raises her stolen sword and says, “then i will slice them to ribbons. this is our village, and this is our country. any who would try to take it from us - from me - will suffer the consequences.”

and it shouldn’t be comforting, hearing words of violence from this young girl, yet everyone around them relaxes, and gets moving, gather the bodies and tending the wounded.

“who are you?” his father asks, and someone who doesn’t know him might think he was angry, but shang can tell he’s impressed.

mulan turns to them and bows, “my apologies. i am fa mulan, daughter of fa zhou. thank you for helping us.” she stands, and shang meets her eyes for the first time.

he swallows, and blurts out, “you - you fight good.”

his father coughs to hide his laughter, but mulan’s eyes crinkle at the corners. “thank you. you do as well.”

and they just keep standing there smiling at each other until his father claps his hands and is like okay - they’ll have to report this to the emperor, no time to dawdle, have to go now.

so they take their leave, and shang thinks this is the last time he’ll see fa mulan.

except there’s still the draft, and this time mulan doesn’t take no for an answer, won’t hear of it. her father is injured and old and she is young and fit to fight. she will go in his place.

so she arrives at the camp, prepared to pretend and lie - except she goes to meet her commanding officer and it’s him, that boy who had fought with her. shang’s eyes widen, but they’re in front of too many people. he can see it on her face, her fear, and she hadn’t shown any fear when she was facing down over a dozen huns, but she does now. so he makes his choice and says nothing, pretends he buys her story.

she tracks him down that night and demands an explanation. he says this war is too important to kill good warriors, whatever gender they are. he swears to keep her secret. mulan is his best soldier from the beginning, and means to treat her like anyone else, but it’s impossible. she isn’t like anyone else, is strong and smarter and braver than them. they argue tactics, and she’s the only one who can give him a workout in hand to hand, and he doesn’t have trouble finding his words with her. he finds himself falling in love with her, but doesn’t say anything. she’s not here for love, she’s here for a war. he vows to say something if they survive this, but it’s unlikely that will happen.

they head to the front earlier. they get there in time to provide back up for his father and his army, and it’s a loss but not a slaughter. his father is too distracted to notice ping is the girl from the village. all he knows is this soldier had led the second wave of attacks, and it was thanks to her any of them were alive at all. they prevent half of the huns from getting through the pass, but that’s still an army heading for the imperial city. the general is injured, so mulan and shang lead the army after him.

they find him at the mountain, and just like before mulan uses the cannon to destroy the army. she knew it would spell their death, but it was worth it, for her people, for her country, for her family. this time it’s shang that won’t accept her death, that tries to drag her unconscious body to safety. only he fails, and mulan becomes buried under the snow.

they return to the city, and shang is besides himself - the woman he loves is dead, she saved them all and she’s gone, and he’ll never recover from this. only he can’t tell his father this, their friends. they think he mourns a friend, not the woman he wanted to make his wife.

except mulan survives, and sees the other huns as well. only she kills them there before they can get to the city, and decides this is for the best. fa ping dies honorably in battle, and fa mulan is free to return home to her family.

so general li decides that it’s time to go to that matchmaker again, and demand she stop playing games. the matchmaker confesses that she thought the bride was unsuitable, and the general demands she send her anyway.

so mulan has barely had the chance to settle back home when the matchmaker shows up at her door saying she’s sending her to see a potential husband, but not who. so mulan shows up all made up to li household and shang drags himself into the room, already resigned to a loveless marriage, when they see each other. “mulan?” he demands, and his father is all pleased because it’s the fighting girl from the village.

but then his son starts crying and they run to each other. shang picks her up in his arms and she clings to him, and shang is babbling about how he thought she was dead, and mulan is so overjoyed that she’s with shang, and shang wants her, that she kisses him without explaining.

except now shang’s father demands an explanation. so they give it to him, the whole story comes tumbling out, and he stares hard at her, and remembers her as ping, the brave soldier that had saved them all. he’s not upset - he ecstatic. he goes to the emperor and tells him everything, and the emperor officially offers mulan an officer position in the army. she accepts, as long as shang is by her side. shang seconds this, and they set in motion the plans for the wedding.

fa mulan and li shang get married and lead armies and live happily ever after, just like the stars intended.


read more of my retold fairytales here

some stuff that would be cool in the next animal crossing:

having your other characters be active in the town while you play on your main (see them walking/fishing/talking to villagers, etc..)

being able to take pictures with villagers (think of the Sims 4 camera skill) and frame the pics

placing public works projects the way you place furniture in ACHHD

l o n g e r h a i r s t y l e s

official gyroid section in the museum!!!

being able to play the live version of KK’s songs in your house

a path building system that’s something more developed than placing patterns on the ground one by one

mean villagers that you really have to work hard to get to like you/having to work harder for friendships in general

you know how sometimes a villager is like “oooh I heard _____ and _____ were together on the beach” I want those things to be REAL. i want DRAMA. give me the hot gossip

being able to go in the river

placing villager houses (obviously)

bring back notes in a bottle, have them be something that you can receive from random players all over the world

seeing NPCs around the town when their shop is closed

ISABELLE GETS SUNDAYS OFF

Prince Adam visits Belle's village post-movie
  • Adam: So which house was Gaston's
  • LeFou: That one
  • Adam: Great, that's where the new girls school is going
  • Schoolmaster: But sire! There's never been a girls school in this village! Never!
  • Adam:
  • Adam:
  • Adam: *glaring* Aren't you the schoolmaster who gave my wife a hard time for reading and wouldn't let her borrow any of your books
  • Schoolmaster: *sweating* I-I can help find a suitable schoolmistress, sire
  • Adam: Good, get on that
6

zest??? zest!!! 

okay but consider:

Link and Zelda going to live at Link’s house in Hateno Village and being all cute and domestic together. 

Like, them fighting over who gets the bed on the first night…. like Link’s like You take it, you’re the princess! And Zelda’s like But it’s your bed! I can’t make you sleep on the floor in your own home!! And then they just both end up falling asleep on the floor because they literally spent all night unsuccessfully trying to convince the other to take the bed.

Zelda trying to cook something nice for Link and being a terrible cook, but he eats that charred omelette or that lumpy onigiri anyways because she tried and that’s all that matters.

Link going to the river to do laundry and Zelda desperately chasing him to retrieve her undergarments because oh my god he can’t see that it’s embarrassing.  

Them climbing on eachother’s shoulders to clean high places come spring cleaning. 

Them going to the shop together for weekly groceries, oblivious to the fact that everyone around them thinks they look like a married couple.

Them sharing food across the table. 

Easter Egg in Revali's Flap

I started rewatching some of Link’s memories and found something really interesting!

In the second memory, Revali’s Flap, there’s a brief moment where the camera turns around and pans the scene as Revali scoffs at the idea of being Link’s side kick. Pardon my taking a photo of my own screenshot, but take a look:

Here we can see a few generic-looking dark crimson-colored Rito in the background, all adults– two are talking off to the right while another is up on a ledge to the left. Those are in the scene to start. But for a VERY brief moment, another Rito appears on screen!

A little blue Rito child is shown running through, ascending the village. This looks like Cree, one of Kass’s daughters, but seeing as how this is taking place 100 years ago, that can’t possibly be the case.

I think this is supposed to be baby Kass! Or if Rito have lifespans closer to actual birds, this could possibly be one of his parents. Either way, it’s a nice touch!