heroes who are not in any way the same person

Another thing I really really love and appreciate (as if I haven’t said it enough already) is that ONE doesn’t let his art style or others’ perception of his skillset prevent him from delving into serious moments and heavy topics. He could’ve kept Mob Psycho on its relatively humorous path and probably would’ve seen some minor success based on its humor and premise alone–and then the Teru fight happens and we get a glimpse at how utterly real the series can get, and it hits so hard because its so unexpected. Mob Psycho’s a series with a lofty premise (psychics and ghosts) with an even loftier sense of humor that has no shame or fear in being grounded in emotional reality. A rival for Mob appears, and it isn’t a hot-blooded clash of brawn that results in a newfound friendship. It’s a one-sided clash of ideals that ends with one middle-schooler choking another with his bare hands into unconciousness. A stereotypical villainous organization twirls their mustache as they make off with the protagonist’s brother, and the hero busts in with The Squad to save the day. Except it isn’t The Hero who saves the day, it’s his parental figure, because The Hero is a 14-year-old child who is wholly unequipped to deal with the emotional consequences of violence and murder. And that’s not even delving into the manga-exclusive content like the morality of exorcising ghosts, toxic personal relationships, extreme bullying, and outright psychological torture. Mob Psycho is RAW. It is funny and extremely silly and not above fart-joke level humor by any means, and yet at the same time is so intense it’s difficult to continue reading at times. And while all these may be shocking, it’s never done in such a way to feel out of place or uncharacteric of the series. After all, the title itself comes from the fact that the main character experienced a traumatic event as a child and developed an emotional suppression complex to try and cope. That’s some pretty dang heavy stuff, but ONE is a master at balancing the two extremes with great characterization, world-building, pacing, and reasoning behind it all, something a lot of authors could stand to learn from.

Shance Gladiator AU

I want a A/B/O AU where Shiro is still a Fighter in the gladiatorial arena, and cause he remains undefeated and obedient some rich galra or Zarkon himself gifts Shiro a ‘pet’ omega who happens to be Lance. 

(A/b/o isnt even the focus loool, you can cut it out and it doesnt change the plot at all.)

More on the AU under the cut! (It’s long and more like a story)

Keep reading

Confederate war heroes did not get statues “because racist white people were mad lol”

It was because the civil war deeply divided our country in ways that are still being felt today, and that honoring the fallen on both sides was a way to reunite the people.

I live in Virginia, I’ve seen these statues. Nowhere on any of these memorials does it say that the south should have won or that slavery was right. They simply honor those who gave their lives, on both sides, for the country that they believed in.

While I agree that white men, in general, are the least disenfranchised group on the planet, the rural poor - black and white, men and women - have been getting the short end of the stick for decades. For them to see their memorials destroyed like that, I can understand that they feel threatened.

Please understand that the US civil war happened back in the days of “rape anything that moves, pillage everything not nailed down, burn whatever’s left, and then salt the earth.” There were no united nations, there were no doctors without borders, and there was no one making sure soldiers on either side behaved according to any standards we expect today. The Union army basically RAPED their way across the south, murdered women and children, burned entire cities to the ground, specifically targeted civilians, and ruined farmland for years to come so the population would starve to death. The Confederate army did exactly the same thing in the north.

There were no heroes on either side, only murderous assholes.

So yeah we as a nation had some scars to heal, and lots of people on both sides got statues. As someone who lives in “The South” I can tell you that you don’t need to take the statues personally. They don’t mean we believe in slavery, they mean we believe in unity.

anonymous asked:

I know this isn't true but I feel that everyone who says Romione wouldn't work for whatever reason they've come up with, has never truly been in love with someone and doesn't know what it means.

Hey Anon,

I wouldn’t really go far and say that the anti-Romiones don’t know what being in true love means. 

I guess it’s different for different people? Depends on our choices, preferences, and personalities really. It has a lot to do with what kind of relationships we prefer to have. 

But yes, I do feel that Ron and Hermione are the classic examples of old school romance, the one that blossoms slowly over the years and is more or less a lot more mature and less flashy than the-’I see you and am mad about you’ kinds. And that is what charms people like us- the stability of knowing a person and eventually coming to realise that he/she is the One. It’s all about knowing that the other person is different, has flaws (of course! who doesn’t?) and has habits that annoy us to infinity and beyond,  but we wouldn’t have it any other way. They are different but in a way that completes us. I find that to be my definition of love- loving the person as a whole (faults, and all) and being loved in the same way.  

I feel that Ron and Hermione, over the period of seven years and having lived through a war, understand that life has failures- no one can excel all the time. And one can be a hero, be brave, kind, intelligent and everything the world wants and needs them to be- but at the end of the day, they need a place where they can be themselves, insecurities, failures, fears and all-  and will still be loved and cared for. That is what makes Romione click for me. 

I don’t care what Ron haters say (because they have biased opinions and don’t want to see he is human, don’t want to see that Hermione has her faults too).But the truth remains that no matter how much these two bicker and argue, they have each other’s back. 

Hermione doesn’t share the comfort of being her nagging self with anyone else apart from Ron - Harry, on a good day, lets her go on, and on a bad day, snaps back making her shut up. Ron takes part in it, and by doing so, acknowledges her. He may not agree with everything she says, but by arguing he tells her that he is listening. Harry tunes her off, not the best thing to do if you consider it a relationship, is it? 

Again, it’s all about preferences, I guess. I’d rather have my man bickering with me about how I am wrong than letting me blabber on without responding or worse, agreeing with me just to make me stop talking. 

The only thing that I hate is when they say Ron isn’t good enough for Hermione. 

Hermione isn’t a prize to be won, she is human and quite an intelligent one at that (don’t they call her the brightest?) And she chose Ron over Harry, over every other bloke she knew- after having known Ron for years (so it’s not a case of momentary attraction either). If the brightest witch of her age thought Ron would be the one who could make her happy, how does it matter what the lesser mortals feel about her choices anyway? ;)  

More than just Blonde and Brunette
  • Why do we always seem to ship certain characters?
  • Is it just looks, or is it something more?
  • I`d like to say it`s something more than just the skin-deep.
  • An example of this is Clexa and Supercorp, which have quickly been gaining traction. On the one hand, you have a bright, happy person with simmering darkness buried beneath the surface. On the other, you have the darker more solemn person with the desire to be loved.
  • In my opinion, it`s this factor than just the blonde and brunette.
  • Look at Clexa, Clarke as Wanheda, and Lexa as Heda. Clarke had an immense darkness within her that could be unleashed at a moment's notice, but Lexa provided a stabilising influence. After everything she was forced to endure, trauma after trauma, and for Clarke, Lexa was a safe place, like a harbour in a storm.
  • Lexa was dark caused the forces thrown at her; she was forced to make terrible choices. And yet all she really wanted was someone like Clarke or Costia to love her. Even when she was compelled to pick head over heart, you could still see that desire in the way she tried to find Clarke and protect her.
  • Lena and Kara are the same as we saw. Kara can be the darkest person, and with the trauma, she suffered who can blame her.
  • Kara single handily has the best justification to become a supervillain of any hero, any yet she bottles it up until something forces her to release it and she steps over the line.
  • Lena has never had someone care about her; she never had the love that parents and family are supposed to give. But being on that side of it for so long allows her to look past the black and white and see into the grey.
  • I think it's this sheer juxtaposition and contrast that prompts people to ship them.
  • Lena would allow Kara to process the darkest sides of her emotions and Kara would provide the love and affection that Lena so desperately craves.
  • I think it is this dichotomy that prompts people to 'ship it' the very nature of the relationship between the two people being the key towards making people associate so strongly with these characters. Because that is what causes us to ship these people the way that we inwardly relate and in some cases crave such interactions. It is also this that makes us so defensive of our 'ships.'

In terms of that TPoH update, there is a lot to talk about. Hero had every right to kill RGB: he kidnapped her, was an ass to her, made her forget who she really is, and on top of all that, she finds another person duped into the same role. She just didn’t though. I guess this just shows that she is a real hero. And Click? You are one to talk. Maybe once you were human, but sorry to say that you are a monster now, that statement can extend to you as well. Do you think you are any better than RGB? You’ve murdered others that got in the way of trying to catch RGB. And lastly, RGB YOU OLD SOFTY. At the beginning of the comic, he was very cold to Hero, now he actually dropped to his knees, removed his hat, and slightly bowed his head as he waited for Hero to kill him. He was perfectly okay with HER doing it. He must be incredibly attached, compared to when Click was a hero(still who knows 100% about that though).

519: Outlaw

I don’t want to talk about the Gor books.  I don’t think I need to talk about them – there’s plenty to mock in Outlaw without going into its source material.  Anyway, if I were going to talk about them I’d have to read them, and everything I’ve ever heard about them tells me that I definitely don’t want to do that.  They sound like a Fifty Shades of Grey for basement-dwelling misogynist nerd stereotypes.

Keep reading

anonymous asked:

.... .m.. more tododeku headcanons please? your other hcs have killed me, but in the best way. could you maybe do some from deku's side? like his thoughts on todo changing from early high school to late high school to after high school and moving in together?

OH ANON, I COULD DO THIS FOR DAYS NO NEED TO BE SHY  ! <3 Let’s hear it for everyone’s favourite little green bean for his anime debut. 
(ALSO LIKE SUPER SORRY IN ADVANCE I REALIZ THROUGH ALL THESE HC POSTS THAT I SWITCH BETWEEN MIDORIYA/DEKU AND TODOROKI/SHOUTO SORRY SORRY ;;; )

EDIT: hhhhhohmy god this ended up SO long i’M SORRY;;;;;;;;;;;;;;

  • Ok to be fair I write about Todoroki’s side more because he’s much more straightforward than Deku.
  • Hear me out, hear me out. Deku can be forward, but in terms of things like relationships, he’s awfully shy. After all, his entire school career he’s been the butt of Kacchan’s jokes – that doesn’t exactly impress anyone, or win them over to date him.
  • Lbr, Ochako is his first real crush. She’s sweet and cute and fun and one of his best friends, how could he not? (And meanwhile, Todoroki notices these things from a comfortable pace away.)
  • Because, after all, in first year Todoroki is something of a wonder. Of course, they’re close friends too and comrades, but Todoroki has literally been born and bred into the role of a hero, where Deku’s still learning to fumble with his quirk. In that sense, he’s really too busy admiring his good friend to really think about him romantically.
  • Second year changes things a little. Deku’s worked past his first crush, because Ochako is someone he can confide in, and a good friend. And even if he was mesmerized by a girl (that wasn’t his mom) taking interest in him for the first time in his life, he loves their friendship more than anything.
  • And towards that, Ochako’s the one who asks him, “What do you think about Todoroki-kun?”
  • Deku has all these praises ready on his tongue and yet something stops him. Todoroki is one of his closest friends, but there’s something that separates him from the rest. What is it?
  • Ever-studious, he takes notes on Todoroki as dedicatedly as he would any other hero or hero-in-the-making. But these notes become more personal- The way Todoroki relaxes his shoulders when he’s on his own, or makes a point of walking on peoples’ left side, how he blows his fringe u when it gets too long, how he has the same thing for lunch every damn day and never gets tired of it. 
  • It doesn’t take long for Deku to realize that these notes are not only highly unprofessional, but flowery and borderline stalker-like. (He’s not doing any more than the usual hanging out and observing in class though! Promise!)
  • Todoroki is analytical like he is too, even more so really. It actually makes Deku a little paranoid for reasons he can’t quite name beyond ‘I hope Todoroki-kun doesn’t see these stupid notes and think I’m creepy.’
  • Third year and grad come far too fast. Todoroki’s always been one of the most mature (and immature, if his off-kilter sense of humour is any indication) but Deku’s starting to feel like he can’t catch up. They’re near-matched in quirk and battle skill now, but there’s still something unreachable about Todoroki.
  • And, Deku realizes, he’s unreachable because of a barrier Todoroki’s erected around himself.
  • And with a swell of feelings that makes his chest feel like it’s about to burst, Deku also realizes that he wants to be the person Todoroki doesn’t have barriers with.
  • Which is… wonderful, fantastic, realizing his feelings, but what does he do?! The mild panic in his system that’s now hyper-aware of Todoroki (Tall, sharp-jawed, cool-toned, handsome Todoroki goddamn) seems to be going haywire and he just doesn’t know what to do. He knows Todoroki senses at least some kind of shift in him, since a small rift seems to divide them. They don’t hang out as much anymore, not until Todoroki suggests living together in their young adulthood.
  • The idea terrifies him so what does he do? Blurts out a “YES OF COURSE! I’D LOVE TO!”
  • ALRIGHT CONFESSION TIME I actually !! have no idea how they’d get together!! It would probably be an accident !!
  • The point being, they’re both just so tired of bogging down these feelings that honesty is just so refreshing, no matter what the outcome. Deku probably blurts it first without thinking, as I’ve mentioned before.
  • Dorky cuteness ensues. Also these two are such an awks vigin couple I love it so much?
  • Talk to me about Todoroki looking up dating advice on the internet and cosmopolitan
  • Deku meticulously merging notes on how to ask someone out by studying J-dramas and whatever girly manga he can borrow of Yaomomo
  • WHAT NNNNNNNNNNNERDS
  • NEEEEERDS IN LOVE

anonymous asked:

question about wish ship - who do you think would get more jealous, ward or trish?

Always love getting Wish-related asks, thank you!!

I think I’m going to go with Ward on this one. While Trish isn’t free of jealousy herself, we only really see it from her canonically in relation to Jessica’s superpowers/heroism. Trish wants to be that hero, wants “to save the world, of course”, and I think a huge personal/subconscious part of why she took that combat enhancer in JJ S1 was so she could get a shot at it. I don’t get the sense from her that any kind of envy comes into play in her interpersonal relationships otherwise, which is further supported by the way she approached Karen in The Defenders. Trish obviously knew who Karen was and they are in similar lines of work now, with Trish wanting to get into investigative journalism more and Karen being given free reign at the Bulletin for exactly this same career pursuit. It would have been very easy to create a certain kind of jealousy/animosity based off that, but instead we had Trish purposefully seeking Karen out and genuinely being interested in what Karen had to say. (I would even argue that what Trish said dimensionalised Karen’s view of what it means to have a vigilante friend in her life, but that’s Karen/Trish-stuff to talk about another time maybe. ;))

Meanwhile, Ward is pretty much canonically envious of a very specific relationship: that of a parent to their child. Even more specifically: he is envious of people who are shown unconditional love. A huge chunk of his animosity toward Danny comes from the fact that Danny was raised by a loving family and allowed to be a kid by them instead of being prepared to take over the family business the way Ward was. Ward lost his mother when he was still fairly young and we all know his father is a piece of work, so I don’t think Ward’s got a lot of experience with that kind of unconditional love-no-matter-what vibe. I think to a degree he had a bit of this with Joy until all the secrets/lies/unpleasantries in IF S1 wrecked that relationship, but Joy seems to be the only one he is even close to and that signifies to me that Ward is used to being horribly alone and would probably alternate between pushing someone away and wanting to hold someone so tight they can’t breathe when it comes to love relationships of any kind. I have no doubt that Ward would be at least a little bit envious of his lover’s other relationships with people in their life, which would translate into some definite asshole behaviour from him that’s mostly born out of his insecurities and his conviction that he is not loveable. 

That said, I actually see both Trish and Ward being fairly laid-back about it? I headcanon their relationship as being very transparent and communicative overall. Trish is a very demonstrative “I love you”-sort of person – very empathic and sensitive, always wanting to see the best of someone, you name it – and Ward needs that kind of honesty from a lover. Trish isn’t going to play a game with him or lead him on or turn around and flirt with someone else when she’s into him – that’s not her style. Ward, on his end, is such an awkward and standoffish little shit sometimes that I’d sincerely be surprised if he ever got close enough to anyone else for Trish to even misconstrue that kind of interaction between him and someone else as something to be jealous about. I have no doubt they get their fair share of attention from people, but I don’t think that attention causes them any issues in their relationship.

7

NW + Tropes: Five Man Band [x]

The Leader–Tuomas
(lead singer) The leader of the group. Can be a mastermind, charismatic, levelheaded, headstrong, or some combination of the four. Often also The Hero.

The Lancer–Marco
The Foil for a hero of the closely allied variety.In general, the Lancer will often (though not always) form one half of a Red Oni, Blue Oni contrasting duo with the Hero. Specific ways this can manifest include:If The Hero is an idiot, the Lancer will be The Stoic, or The Quiet One. Conversely, if the Hero is smart, the Lancer will be his Number Two for Brains.

The Big Guy–Jukka
The powerhouse of the Five-Man Band. They are usually incredibly and unflinchingly loyal, and often they are the largest member of The Team and even more effective in combat than anyone else. (Sometimes combined.) They will often be the point man, they cause a disturbance and hold off themooks while the others challenge the Big Bad. Against stronger enemies they might end up suffering The Worf Effect; getting trounced to set up the villain as a credible threat.

The Heart–Emppu
This personality aspect comes up in just about any ensemble. Their personality is based on getting the others to recognize that there are more things at stake than their personal vendettas. Especially if The Team is starting to become Knight Templar or if any individual becomes a Well-Intentioned Extremist, this is the person who will argue and fight against the justification of “I Did What I Had to Do.” Quite often The Heart character will also be an All-Loving Hero, where they go out of their way to help all of the little people.Within the ensemble this character will most often be merged with the role of The Chick.

Like The Heroand The Leader, they aren’t one and the same but they often overlap since they are a good fit. If The Chick is usually a non-action character, having personality traits of The Heart will give them more to do. Especially if the team is always at each other’s throats. For the same reason, The Heart can also beThe Hero (in the case of the Magnetic Hero) or The Leader as their leadership keeps them from falling apart. May be part of the Command Roster. The character whose death or loss is most likely to triggerLosing the Team Spirit. Where Elemental Powers come into play, other characters may be in for a Heart Beatdown.

The Sixth Ranger–Troy
Any new character that joins an established ensemble and knocks it out of one of the traditional categories (and possibly into another) is a Sixth Ranger. There may be more than one per team, with either several joining in succession, or pre-established pairs coming in at once. In a Magical Girl show, it is not uncommon for the Sixth Ranger to be the lead character’s boyfriend.

The (Dark) Chick–Floor
(vocal effects, tambourine) A peacekeeping role to balance out the other members’ aggression, bringing them to a nice or at least manageable medium. The Chick is often considered the heart of the group. This role is played by a woman or girl. Someone female. Otherwise, it is not a Five-Man Band.

Inspired.
I’ve been thinking a lot about the similarities between Swan Queen and Supercat

So I just finished watching season 1 of Supergirl and I instantly fell in love with Supercat the exact same way I fell in love with Swan Queen. Swan Queen has been my OTP since season 1 premiered, and I, like my fellow Swen, feel a deep passion and intrigue around Emma and Regina. I want them exploring one another, diving into love, fucking, making love, fighting, arguing, blissful family times with Henry and the two idiots–all of it. I’ve even written some Swan Queen fanfiction and posted it anonymously which frankly is a huge waste of time for me since I’m a writer being paid to actually write stuff that isn’t smutty slash. 

But. come. on. It is so delicious to write that stuff, and I love doing it. I can’t not write Emma and Regina’s true love stories. It’s just sitting there for us on a platter and the dumbass writers of the show are the only ones not taking advantage. 

Emma and Regina are going to intentionally fall in love and have all the sex all the possible ways over and over again all by the power of Swen and the writers have nothing to do with that brilliance. I’m like, “thanks for settin’ up boys, you can leave and never talk out loud again now.”

Originally posted by willow-hermione

And then

Originally posted by chopchopmissgrant

in walks Supercat.

And I’m like !hearts for eyes! the same way I was with Clexa. However, Clexa is like a crush, a passionate love affair, compared to my slow burning one true love Swan Queen. I adore and support them both, but what makes Swan Queen so special?

I’m even thinking of writing some Supercat fanfiction! Supercat is nearly on the same level as Swan Queen, and I think I know why. 

These four women are the same in a lot of ways. Don’t get me wrong, they are very different in a lot of ways too, but if you look at their foundation, who the characters are in their core, there’s a basic mixture that I am finding to be irresistible. 

First we have Regina and Cat: the hearts of each show really. Both strong, powerful, with a dark side. Both are in ruling positions. Regina is the evil queen, and Cat is the queen of all media. They both wield sharp tongues and easily have the best zings and one-liners of the whole show. Both are also mothers of boys, Cat has two sons and Regina has Henry. Both have a dark history they regret, but accept and take responsibility for. Both are gorgeous, charismatic, cunning and manipulative.  Yet in blissful, rare moments they turn into adorable cinnamon rolls. Sometimes they need rescuing. Sometimes they come forth as the very heroes of the story, suddenly wanting to risk everything to help save everyone. And who brings out their big cinnamon roll hearts?  

Well…

Originally posted by aunicorndumbass

Originally posted by reginalovesemma

That’s right! Emma and Kara always bring out the best in Regina and Cat!

But Emma and Kara are a little different in their own ways, still the core foundation is the same. 

Both start out lost, but both are in positions to help someone else. Kara is an assistant so she manages everything for Cat, but she does a flawless job at it. She rarely makes any mistakes at all. 

Emma starts out as a bail bonds person always bringing bad guys to justice in a form much like the poison apple, sweet and delicious red on the outside–tempting, but it’s over when they take a bite.

There’s more muscle involved, and Emma is isolated in a different way from Kara, yet both are from other worlds. Both are orphans. Emma was an infant when her parents had to send her away, but Kara was a young girl who still has happy memories of her family and her beloved home. She also was fortunate enough to grow up in a privileged environment. 

Emma is rough around the edges because she had a rough life. Kara’s anger is only expressed after she realizes her potential as Supergirl, and once she stops suppressing her powers, her rough edges finally surface in the episode Red Faced. Kara suppressed these feelings along with her powers while she grew up. She feels just as abandoned and just as isolated as Emma, but her feelings are latent where Emma’s are expressed. 

Yet when Kara takes off her glasses and cardigan and becomes Supergirl, her character is nearly identical with Emma’s. Both have really nice arms, both have that flowy blond hair. Both spit zings while fighting the enemy, and speak in a low, commanding voice. Both have the eating habits of a child.

One wears a red cape, and one wears a red leather jacket. Both serve as a kind of “armor” Emma is the savior and Kara is Supergirl. 

I could go on and on with the parallels between all four women, but the connection Emma has with Regina and Kara has with Cat is so special. It is romantic. Both pairs are ultimately the perfect love story. Emma and Henry obviously are Regina’s happy ending, case and point:

Originally posted by malefistache

And Cat Grant is Supergirl’s Lois Lane.

Originally posted by chopchopmissgrant

It’s not a wonder I’m in love with both ships. Anyone else?

ambrawlin  asked:

I just recently discovered your blog and your art is wonderful! I'm a huge markiplier fan and seeing such lovely art of my hero from such a talented artist is the best! <3

Aww, that’s really sweet of you to say, thank you so much hon!! ;A;

I sometimes feel like I draw Mark way too much, and that you guys are getting bored, but it warms my heart to know that there’s at least one person out there who enjoys my mass-producing of Markiplier fan art XD I’ll try and keep up the standard, ey? c;

anonymous asked:

Hi! Recently I found this and other whump blogs, and before that, I didn't know "whump" was a thing. However, upon finding it, I immediately recognized that it applied to me. I've liked whump for a while, but I pushed it away because it scared me. It feels... wrong, but I can't help it. Do you have any words of assurance? Thanks! (by the way, I'm by no means trying to shame you in any way. It's great that you are okay with it. I simply wish I was)

hello there, friend! first of all… *drumroll* welcome to the tumblr whump community! i am thrilled that you found us and that you’re here. i really am. we’re a crazy bunch; we like blood and gunshot wounds and hospital beds and worried, hovering friends (as long as all the pain being inflicted is fictional) and angst and tears and tortured heroes, but really, we’re totally harmless. i promise. ;) 

Originally posted by communitytv

secondly, can i just say that i was once where you are now? before i made this blog, i was uncertain and scared about loving the moments when the hot, male (and sometimes, female) characters of shows and movies got hurt. (i would rewind them over and over again; i loved whump even when i was a child.) i mean… it sounds totally weird and sadistic and (as you put it) wrong, right?! like… who even likes that kind of stuff, let alone seeks it out?

and if i’m being honest, i can’t explain it. i really can’t. let me say this, though. 

i know whumpers are not sadistic. they’re not cold hearted. they’re not “sick”. they don’t enjoying seeing people - or any living creature - suffering. it’s not that at all. they’re not even all that weird. (well, no more than i am; and a little weirdness is called for. keeps life interesting. ;)) in fact, all the whumpers i’ve met on here - and elsewhere - are the kindest, most genuine people i know. honestly. 

some people love seeing the “damsels in distress” in television, others like the “hurting heroes”… and i think some people love h/c (whump) because of the humanity it exposes - especially in characters that are usually impenetrable; unbreakable. (speaking for myself, whumping a wimp, whiner or coward - or someone downright repulsive in character - does absolutely nothing for me.) 

we love to see the strong ones - the warriors, the fighters, the silent sufferers, the gentle heroes - vulnerable; we love seeing them broken and pieced back together by someone who sees past the charade and knows that they’re simply human; just like everyone else. despite the history or events or hardships or heartbreak that made them believe they had to be strong for everyone, we like to know that even heroes and warriors are still held back by the same limitations and, well, humanity that we all experience. 

another thing i had to remind myself of was that i did not (do not… will not ever) enjoy seeing another human being in pain; whether it’s physical, mental or emotional. in real life, i cannot stand it. (literally. i can’t - especially if there’s nothing i can do to help.)

and personally, after caring so much in real life - and being so often unable to help those around us who are hurting, in any way - it is a relief to see people - characters - that are fictional (and yet, still so real) going through the same things people in the real world experience; perhaps succeeding where, in reality - in the real world - they would’ve have failed miserably. (and let’s be honest… tv shows and movies aren’t know for their realistic portrayal of… well, anything. ;) heh.)

but, in this movie or tv show, this episode, with this character, this time, they get through. they suffered, but they won. they succeed. they held out long enough. they were strong enough.

and this time? this time, we get to see the resolution. the end. the part where the heroes are rescued, reunited, cared for, patched up. we get to see the moment when the wall breaks down, when the charade crumbles, when the wounds are healed, the bridges repaired, the exhaustion and pain and stress erased and alleviated. we get to see into the relationships; the romances, the bromances, the friendships…. we get to see into the depths of a soul where there is no price too great if it means saving the one you love most. we get to see the bonds of friendship, of time, of honest, unadulterated love and sacrifice. 

and what better time to really see that, other than when the main character is bleeding out, or collapsing from exhaustion, or pushing through the pain to save their friends, or sacrificing their health or mental well being or enduring torture to protect the ones they love? 

of course, everyone is different - but, having felt as you do now, this is the only logical explaination i’ve been able to come up with… for myself. i’m a very private person - none of my friends or family members really know that i’m a “whumper”, but i’m no longer ashamed or scared of liking it. i’ve gotten to the point where i honestly don’t care what anyone thinks, because i know (some of) the reasons behind my “whump” obsession; i know that tv shows are not “real”; i know that nobody can jump off a 5 story building, land on a car and survive. i know that many, many people die from injuries that are shown in movies as “slight inconveniences”. 

but for a few moments, we believe that they can; that they are simultaneously more than human and just as vulnerable as we are; and, through whump, we get to see that… perhaps we’re all still children at heart, still living in a world of fantasy and imagination, but hey, for a few hours - or 45 minutes - what’s the harm? 

anyway. i’m not sure if this was assuring (at all) or not; i hope it was; at least a little bit. haha. ;) 

seriously though. i’ve been where you are… and while it may seem strange and weird and wrong - and while you may not be able to explain it logically to anybody, there’s nothing wrong with who you are; there’s nothing wrong with liking whump. absolutely nothing. you’re not weird (well, as i said earlier, no weirder than we are; and, i promise, we’re harmless ;)), and i certainly hope you can get to the place of wild abandon that the whumpers of tumblr have reached - or are in the process of reaching. ;) 

anywayyy. #rambling 

regardless of whether this helped you or not, you are more than welcome here, friend, and if you need any more assurance or if you just wanna chat or whatever! feel free to message me, or any of the other fellow whumpers around here (who might be able to explain this better than i have)! we’re always here, and always will be. ;)

i hope to see you around again soon!

xx, WG

(geez, i wrote a novel, didn’t i?! sheeeeesh.) 

a note on ugly mary

so i have gotten a whole bunch of messages about this story lately, and i just wanted…to be a little jk rowling about this (<- haha, get it, because she keeps editorializing? it’s–it’s a joke about editorial intention, it’s…okay).

you can, obviously, take away whatever you want from the ugly mary story; that’s what storytelling is. but, to me, ugly mary is in part about someone who knew her own worth and didn’t need the world to affirm it for her.

mary always knew what mary was made of. what mary could be.

the thing of it is, i think mary likes what she sees when she looks in the mirror, because what mary sees is mary. not a beautiful woman, or even an ugly woman, or even “a woman.” i think that mary sees her own strength, and her own intelligence, and her own ambition. she sees her ugliness only insofar as she recognizes it as a tool she can use to manipulate people, the same way that mary sees kindness and gentleness as tools to manipulate people. the same way that beauty can be a tool.

(again, i can’t stress enough that mary is not a good person. powerful, yes. good, no.) (you can both be powerful and good.) (you are powerful. you are good.)

(“ugly” does not mean “bad.” i made mary a villain because the post was about weaponized ugliness and because fictional villains are generally more interesting to write for me than fictional heroes. that’s the point: neither beauty nor ugliness are inherently attached to any kind of morality.)

so for everyone who said that story made them feel powerful: good. i’m glad. again, i hope you use that power for good and not for political intrigue & murder, but still. you deserve to feel powerful.

you are powerful.

you are good.

the only person whose opinion matters about either of those things is you.

…and that’s all i wanted to say. ofgeo out.

harmlesslittleflea  asked:

How can I write a young villain, like 15/16, realistically? What should be some limits?(I'm 16 too but I don't get out much so I don't really know any people around me who are like 'evil')

People are rarely ever just “evil”. I think that’s why you’re having a hard time writing this character. HOWEVER, I’m sure you know some people your age who are mean and are motivated by selfish reasons. Take some time to develop your villain, the same way you’d develop your protagonist. 

What do they want/need? Why are they opposing your hero? Your antagonist isn’t always a bad person; they’re just someone who doesn’t want to see your protagonist to succeed or someone that stands in the way of your protagonist’s success. Their ideals clash and they believe different things. You should develop your antagonist just as much as your develop your protagonist. Explaining why they’re doing the things they’re doing will help your readers understand what’s happening.

Take a look at your antagonist’s background, family life, their circumstances (are they doing something for money? popularity? fame?), and build your character from there.

Unpopular theory: How about instead of being a potential triple agent working with Hawkmoth to destroy the bond between Ladybug and Chat Noir, or the third player in a possible future love triangle, what if maybe Volpina’s role is similar to Yue from Sakura Cardcaptor?

What if Volpina together with Master Fu and the kwamis: Tikki and Plagg form the Guardians of the Miraculous?

While Master Fu is the Selector: the one tasked with choosing the next worthy candidates to be the Wielders of the Miraculous; entrusting them with the duty of stopping the akumas and the kwamis are our heroes spiritual guides who also act as their key source of power, what if Volpina is the Judge who arrives to test them to see if they’re worthy of wielding their respective Miraculous?

I know the caption for Volpina’s teaser was an Italian girl in Paris but…maybe Volpina’s human form is just a facade for her to blend in so that no one would suspect her true role? I mean Yue also has a human form so…maybe it can be the same for Volpina.

And once she tests Ladybug and Chat, concluding that they’re both worthy of their given powers, Volpina, similar to Yue, ultimately joins the team in the fight against Hawkmoth and the Akumas. And apart from being their Judge, Volpina’s secondary role is to also act as our heroes’ protector.

Of course neither of heroes honestly need protecting but I like the idea of Volpina having this sort of chivalrous personality, preferring to fight with honour and doing anything in her power to fulfil her duty of protecting Ladybug and Chat Noir and helping them stop Hawkmoth once and for all. Like the team’s very own fox knight…a rather unorthodox knight who fights with a flute instead of a sword but is still courageous all the same.  

I imagined if Volpina was to be our heroes’ protector, she’s the be the type who’d be completely devoted to her duties, going out of her way to prevent any harm from happening to our duo both in hero and civilian form (like imagine a scene where Chloe advances on Marinette to insult her or makes a pass at Adrien to flirt with him and in both instances, Volpina just steps out of nowhere and puts herself between them pointing a ruler at Chloe’s nose like a sword; barking at her to take heed and leave for her masters wish to be alone or something like that).

And if Volpina is like a knight, I’d imagine she would have a relationship with our heroes where they teach her the meaning of friendship and Volpina learns to care for them both not just as a knight protecting their kin but as friends protecting friends.

I know the idea of Volpina being a knight is a stretch. Like I said, it’s an unpopular theory but I quite like it. So much so that canon or not, it would make a pretty cool AU, don’t you think?

~LittleMissSquiggles (2015)

A Theory About the Theories About Souls

So there are two general ways of looking at the soul in the Buffyverse. One of them, which I’ll call the Standard Theory, is that the soul is the real person and the whole real person, full stop, end of story. The other is that the soul is only a piece of a person; a very important part, but only a part. It’s the equivalent of a conscience, and either allows or enhances the ability to feel emotions like guilt, empathy, and altruism. A person’s physical memories and feelings and experiences, on the other hand, are what make them an individual, make them them.

The Standard Theory is put forth by Giles in the first season, and is referenced again, directly or indirectly, a number of times in later season of BtVS and AtS. The Alternate Theory is only put forth once, by the emissary of the Powers which visits Connor in AtS Season 4, trying to stop him from committing murder. It appears to Connor in the form of his mother Darla, who was soulless when she committed suicide to give birth to him. It is not clear what the nature of this being was, but when Connor asks if it is his mother, it replies that it has her memories and feelings, and is that not what makes a person what they are?

The Standard Theory is exceptionally useful for the situation that the show’s writers created it for: providing a reason why it was totally OK for Buffy to be in love with Angel, despite the fact that he was a mass murderer. If the soul is the real person, then nothing that Angelus does is Angel’s fault. Angel may remember it and feel guilty about it, but he did not commit those acts, and he cannot be held responsible for them. The same applies, of course, to any other vampire, much to the annoyance of Bangel fans.

However, there is an issue with the Standard Theory which the writers who originally conceived it could not possibly have anticipated. It’s not a worldbuilding problem, but a storytelling problem, and that problem’s name is Spike. Spike did not start out as one of the heroes, as Angel did. He started out as a villain, and as a soulless vampire, gradually changed his ways, and eventually sought and won his soul back.

You see the problem here, of course. If the soul is the real person, and the whole real person, then Spike’s story is not the story of a bad man who fought and succeeded in becoming a better person. It’s the story of a bad man who committed suicide and was replaced by another man who was already good. If soulled Spike cannot be held responsible for the bad unsoulled Spike did, he cannot get credit for the good unsouled Spike did, either.

There’s nothing wrong with this on a worldbuilding level. But it makes absolute hash of Spike’s character arc. It’s one of the things that annoys me about the current storyline in the comics. On the show, the Standard Theory got blurred in the direction of the Alternate Theory over the years, and in S7 of BtVS and S5 of AtS, Spike always behaves as if he is the same person as the one who fought to get his soul back. That’s why he can tell Angel in Destiny that they are nothing alike; that he is the one who fought for his soul. He may not want to be soulless again, but he can acknowledge the things he did while soulless that weren’t evil, and even be proud of them. Nor does he ever suggest that he didn’t love Buffy while soulless.

Whereas in the comics, in order to remind the readers that it’s totally OK for Buffy to (like? love? lust? Some four letter word beginning with an L, anyway) Spike, even though he tried to rape her before he got a soul, the writers have shifted the emphasis back in the direction of soulled Spike being a completely different person than soulless Spike (who didn’t really love her after all). S10 Spike does not want to see any continuity between him and his former self, who in his eyes was capable of nothing good. He urges Buffy to kill him immediately should he ever lose his soul, and why not? It won’t really be him she’s killing.

I realize that they are still maintaining a degree of fuzziness here, and yes, you can interpret all this as metaphorical. (And I’ll cling to that interpretation as long as I reasonably can.) But it’s a much smaller degree of fuzziness than the show ended up with. It’s no wonder Spike can’t come up with any differences between himself and Angel any longer. Under the Standard Theory, there aren’t any.

WRITING CHARACTER CRITICISM

i.e. How not to be a douchebag

One of my favorite points from the snk meta writing panel was a discussion of how to write character criticism. We settled on a few basic points:

  • Perfect cinnamon rolls do not exist
  • Be constructive, not insulting
  • Accept “problematic faves”
  • Don’t be a hater

I’ll quote what @teetanjaeger said: This is SnK. All characters have negative qualities. It’s just as important to recognize that as it is to recognize their positive traits. You need to be aware of how you are approaching that discussion and do it in a constructive way rather than an insulting way.

When you are writing for SnK, you simply cannot ignore character flaws. As part of a larger analysis, flaws are a welcome and necessary part of the conversation. 

Writing character hate is a beast of a totally different color. It is divisive, unnecessary and short-sighted.

Isayama has created a story with a wonderfully diverse and realistic cast. As fans, our personal backgrounds influence our perceptions. We relate to characters in different ways. We read the same words but they affect us all differently. The end result is that one person’s perfect cinnamon roll can easily be another’s monster. 

Further complicating the issue is that SnK is a story where the lines between the hero and the villain are blurred and difficult to decipher. We still don’t know who the enemy is. We haven’t learned the reasons or the motivations for those on the opposing side of the battle. We are drawing lines in the sand without any real basis to do so.

(This was especially evident with the fake spoilers about Mikasa. Battle lines were drawn on fake information. And during the uprising arc, how many people did a complete 180 degree turn in their feeling for Historia? She went from hated to celebrated in a matter of weeks.)

This is supposed to be an informational post, not a lecture. But I want to end on a personal note. Seeing character hate is my least favorite part of the fandom experience. It’s your blog and of course you can do what you want. But I wish people would be careful and consider the feelings of others. If you write a contentious post, ask someone else to read it. Or maybe leave it in your drafts for a day or two to see if you still feel as strongly.

That’s exactly what I should do with this post. Oh well. 

Laurel Lance, and the psychology of her decisions

One of the things that really bugs me about the Arrow fandom is that many refuse to even try to find reasons that Laurel makes the decisions she does. For many, it’s easier to just point at everything Laurel does and screech that she’s selfish and doesn’t think about the consequences of her actions.

The reason that this bugs me is because we have been very clearly shown that Laurel struggles with mental illness in the form of her addiction, and she struggles with the issues that come from being the adult daughter of an alcoholic, and the issues that would come from grieving both a sister and a boyfriend lost in a way that is quite possibly one of the most painful ways someone can lose two of the most important people in their lives.

Now before I delve further into this topic, I want to say very clearly that mental illness and personal struggles do not EXCUSE poor decision making or the hurt caused by them. But in many cases, it can explain it beyond just ‘this person is selfish and choosing to be a horrible person.’ The reason why this rhetoric is harmful even when discussing fictional characters is that fictional characters that struggle with mental illness represent real actual things that real actual people struggle with. And storytelling in all its forms is a way that we as humans at least attempt to give people the chance to empathize with those who are different than themselves. And it’s also cathartic for those who identify with certain characters and their struggles to see themselves reflected on screen. And in this case, to see a character who has struggled with grief and addiction find ways to move forward and become a hero.

I had an argument with someone on a forum and this person claimed that all of Laurel’s decisions were ‘insane’ and that she couldn’t make sense of the logic behind any of them. And the reason for that is that when you try to remove the effects that her addiction and grief had on her decision making and look at the logic of the decisions, then yes, it will not make sense. It frustrates me because this is the same fandom that claims that all of the murders Oliver committed in season one were excusable because of his PTSD.

Now, let’s discuss some of these decisions and some of the explanations that can be used for them beyond Laurel being a selfish bitch.

One of the things that I see Laurel getting a lot of flak for is being at CNRI in season one, attempting to save those files. Part of the reason that this isn’t seen in a good light is that the producers deleted a scene explaining why those files were so important and crucial to the clients of CNRI, who are mostly people with very little to their name who have already struggled quite a bit. I think it’s safe to say that a little nonprofit that barely had the funds to stay open likely does not have digital back-ups of everything, so let’s rule that argument out right now. Now, after Sara and Oliver’s ‘deaths’ while in the midst of betraying her, Laurel latched onto finishing law school and then her work at CNRI. We see throughout season 1 that she’s pretty much buried herself in her work. She doesn’t have much of a social life, and I think it’s safe to say that CNRI gave her purpose, gave her life meaning. This is a woman who believes that everyone she loves chose to leave her. Oliver and Sara chose to run off to screw each other, her mother physically left town and mostly dropped out of her life, her father remained present physically, but certainly ‘left’ her in terms of losing himself in his alcoholism. So she tied her sense of self worth into her career, into helping the people of the Glades. I think it’s safe to say that at that point, she saw her work as more important than her life. The people she helped over the years were worth risking her life for. I believe that this moment was the writers attempting to show Laurel as selfless, not selfish. But by that point, the audience had already projected their negative perceptions onto Laurel and pairing that attitude with the explanation scene that was cut didn’t do the character any favors.

Moving to season 3 and Laurel lying to her dad about Sara’s death. First of all, I’m going to say that I thought that lying was a bad move on Laurel’s part. I understand the reasons she did it, but I don’t think those reasons excuse it. Again we have a character who feels she has lost everyone in her life. And now the little sister that she was raised to protect was killed right in front of her. I think it’s safe to say that she wasn’t thinking clearly in season 3. And while concerns for Quentin’s heart were part of the reason that she kept the secret, I think she was also scared of losing him to addiction again. I think that’s why she wanted to be able to tell him and give him closure at the same time by telling him that Sara was dead but at least she’d been able to track down and bring the killer to justice. And the longer that it went on without answers, the more worried she was about losing her dad. And she did lose him. He fell back into drinking and was also so angry that he told her their relationship was over. And while, yes, they apparently patched things up over the break, Laurel literally had her father desert her.

And as for bringing Sara back being ‘selfish’… I’m not going to argue that this is a well thought out decision or the ‘right’ decision, because it’s not well thought out and the argument of whether or not it’s right would be a much longer post.  But I think that anyone who has ever lost someone can tell you that if they were offered some magical way to bring that person back, they’d at least be tempted. And while, yes, Thea has been showing anger issues as a side effect of the pit, she and Laurel having been living together and she’s still very clearly THEA. So from what Laurel has seen and known, if this works, she will still get Sara back (if it works-I believe that Laurel doesn’t even know if this will work) and the issues that come with it are something she believes she can work through. I think that so much of the audience gets caught up in the spoilers and what we as the audience known, but Laurel doesn’t know all of that. She just knows that there’s a chance that she can get her sister back and give Sara another chance at the life that she lost and I don’t think Laurel would be able to live with herself if she didn’t try.

Ultimately, Laurel’s decisions are a lot more understandable and HUMAN when  viewed through the lens of who she is as a character and what she has been through. And one of the reasons that I really like her journey is that we see consequences to her actions and we see her show remorse and grow as a character after facing these consequences.

4

Heartbreak: The Truth underneath the surface.

Oh, how easy it was for Felicity to relate to Barry, how simple yet piercingly truthful her words were. They hit a string. The instance she saw Barry around Iris, she knew. Because it’s the same way she’s been around Oliver.

Oliver is Felicity’s dream. Her little quiet dream. That man, that hero, that person who she has loved for so long; he’s that dream she can’t talk about. Not to him, not any more. Because, unlike Barry, Felicity got to taste it. For a moment there, she had everything she wanted right in her arms. She wasn’t just finally free to love Oliver; she was loved in return, too. That pure feeling of happiness, belonged to her. Just for a little while. And then, it was ripped away from her.

This is the scene anyone who doubted about Felicity’s feelings, was waiting for. This little moment where her mind wanders far away from that train, to her home, to the man who has become her home. That little bittersweet smile of the memory that, for a sweet heartbeat, you took a taste of what you love before it fell apart.

I bet most of you have seen the Harry Potter movies or read the HP books. In the first one, Dumbledore said this line that has touched me like no other: “It does not do to dwell on dreams and forget to live, remember that." That’s why Felicity couldn’t hold on to maybes any longer, and that’s why she’s one of the strongest people I’ve ever seen. She had the dream, but that dream had always been stumbling between fiction and reality. Maybe one day this dream could come true. She can’t do this any more, because she has to live her life. That precious life, a life that can be taken away from you any moment; she was reminded of that the hard way. So, she needs to know if it will become reality, or else she needs to let go of it. Because no human can live in that line for so long.

But what’s the new clew we learn? What’s the secret behind that woman’s smile? How can she still be the silver lightning of Arrow when she was so affected by her friend’s death? How can she still babble and smile, as if nothing has happened? "I don’t think she’s in love with Oliver,” some said. Here’s why you couldn’t be more wrong:

“It’s the smile you fake to play the part. Quiet dreams you keep to yourself.

Felicity’s feelings for Oliver haven’t changed. She still loves him. She still wants to be with him and would do anything for him. What did Oliver do? He pulled himself out of the equation. And now they have work to do, and she needs to pull herself back together. That’s why she fakes smiles and acts in the team as if nothing has changed. She tried to get to Oliver, she tried to make him open up but instead what she got was a man who had stubbornly given up on his own life, on his own will to be anything other than a tool. So she had to leave. She had to walk away. Because she needs to find something better to herself. But her love for him, her wish to spend her life with him and give them a chance to happiness, is still there; it just exists quietly. Just like Oliver chose to live under the Hood to help himself hide his feelings, Felicity has to hide hers too.

But it’s there. It’s boiling underneath the surface. And, one of these days, it will explode. From both sides. And, God help us, it will be glorious.