how can such a simple scene be so emotional

How to Keep Your Readers EMOTIONALLY Involved

Why is it that sometimes a book or movie can make you THIS emotionally invested  … 

And sometimes it’s more like this? 

My stories used to inspire a reaction similar to Hermione’s in my readers. And in me.  At some points I’d be reading my work, and a little honest voice buried somewhere in my head would say “I wouldn’t care if this character was hit by a bus right now.” Then I’d heap some denial atop the voice, silence her unwanted mutterings, and go back to trying to enjoy my story. Problem was, my readers appeared to have this little honest voice as well. And if she told them “Cartoon bus. Hitting this character. Wouldn’t that be funny?” they had a tendency to listen to her.

What was the problem? My scenes didn’t connect to my reader’s emotions. They didn’t change those emotions throughout the scene. They started out sad and they ended just as sad or even more so. And what came after that? Well, another scene that began with the main character feeling horrible, which ended with him just as downtrodden as before. Or worse: The scene began positive and just got better. The next one would start out absolutely giddy and ended effervescent. And this kept going until the characters were almost singing with joy. (Okay, maybe I’m being slightly snarky about my past self.) But after that, I’d follow it up with a long sequence of sadsadsad scenes. 

So what happened? My readers had only two emotions while enduring this: frustration and impatience. 

The scenes weren’t keeping my readers emotionally engaged. The scenes weren’t changing emotionally. And that is what needs to happen: The emotional charge of the scene has to change. Switch between negative and positive. The flow of the reader’s emotions has to be taken into account, and consciously adjusted. It’s that simple. 

How can this be accomplished? 

1) Determine what’s at stake in the scene. To the characters, something important is being threatened, something emotional or primal. Love? Safety? Friendship? Justice? Make sure the scene means something for the characters. (If it’s not emotionally significant to them, connected to the A Story, B Story, or Character Arc, it’s not a scene and the reader won’t care.) And since the readers are emotionally connected to the characters, the readers care about what’s at stake, and are conscious of what it means. 

2) Beats. The exchanges of action and reaction between characters and forces of opposition in pursuit of the goal … these carry that emotion, these are how emotions shift within the scene, gradually taking it from one to another. 

3) Emotional Charge. If the scene starts with what’s at stake in positive way, then it’ll switch to negative by the end. If if starts negative, the scene will change to positive. 

Anyway! How does this work?  

To illustrate it, because I’m having a lot of fun reading the screenplay, here are five scenes from Zootopia. 

Let’s start with the scene right after this happens: Manchas has gone savage, and Judy and Nick are running for it.

Scene 1 

What’s at stake? Life

Opening Charge: Negative (They’re being chased by a jaguar who is about ten times bigger than either of them, and who seems quite keen to tear them apart. To the characters, this scene opens with a 95% likelihood of imminent brutal death. To the audience, this scene opens with two characters we’ve come to care about in this dangerous situation.)

Closing Charge: Positive (They manage to call backup. Judy manages to handcuff Manchas. Nick stays to help Judy, rather than hop on the gondola to safety. They fall but manage to survive. They fall again, but are caught by a vine just before impact. Bogo and the rest arrive, and Judy is full of confidence about her discovery in the Otterton case, and eager to show them. Everything in this scene ended in Judy and Nick’s favor.)

How has what’s at stake changed? They lived.

Scene 2

What’s at stake? Judy’s lifelong dream, the goal she’s worked towards since she was a child. 

Opening Charge: Negative (Judy tells Bogo that this is way bigger than a missing mammal case – Otterton and Manchas went savage. He scoffs at her. In response, Judy confidently sweeps back the leaves to reveal the wild jaguar … and he’s gone. With her proof nowhere in sight, what she’s told Bogo sounds insane and ridiculous. Which provokes him into demanding her badge.) 

Closing Charge: Positive (Nick stops Bogo from taking Judy’s badge. Nick also bluntly tells him that he’s been an unfair little jerk to Judy, they have time to solve the case, and they have much more important things to be doing than standing around dealing with these idiots. He even calls her “Officer Hopps” instead of Carrots. They’re back on the case.) 

How has what’s at stake changed? She still has a chance to achieve that lifelong goal. And Nick was the one to buy her more time. 

Scene 3
What’s at stake? Truth

Opening Charge: Positive (Judy, and the audience, are feeling thankful and closer to Nick.)

Closing Charge: Negative (But even though we are in a good place, Nick looks far away … he starts thinking back … and we can sense that this memory lane doesn’t end anywhere pleasant.)

How has what’s at stake changed? He’s about to share something significant.

Scene 4
What’s at stake? Innocence

Opening Charge: Positive (We see little Nick! Looking happy and excited. All he wanted to do was join the Junior Ranger Scouts, and his mother scraped together money to buy him a uniform. She’s even adjusting his tie for him, lovingly.)

Closing Charge: Negative (Nick, who had been so happy at the beginning of this scene, is now hiding from the evil kids,  struggling to pull the muzzle off, panicked, crying like his heart’s broken.) 

How has what’s at stake changed? Traumatized

Scene 5
What’s at stake? Closeness

Opening Charge: Negative (Well that was a horrifying story. And now Nick is avoiding eye contact, while revealing the takeaways he got from that childhood episode, which have shaped his decisions from then on. Suddenly Judy, and the audience, understand Nick a lot more. We empathize and sympathize with him.)

Closing Charge: Positive (The traffic cameras would have caught whatever happened to Manchas! And Judy has a friend that can help them access those cameras. They’re back on the case.) 

How has what’s at stake changed? Nick dodges out of further vulnerability BUT they’re back on the case – this time, together. 

So!

As you can see, the emotional charges of these scenes fluctuate smoothly, from a scene’s opening to its closing, from one scene to the next. In every moment, in every beat, we’re feeling something. And when the scene turns, we (and the characters) are feeling the opposite of what we were at the beginning of the scene. Our curiosity and minds are linked to the story by the question “What’s going to happen next?”; our emotions are connected to the story by the conduits Judy and Nick, these two characters we care about, as every emotional change pushes us closer towards the answer to the question “What’s going to happen to these two? Is everything going to end up alright for them?" 

Now, let’s see what happens when you stop paying attention to the emotional changes of your scenes. 

Scene 1: Manchas is gone. Bogo is berating Judy. Nick stands there and watches. Judy ends up handing over her badge. The real cops leave, and Judy stays behind, figuring she might as well try and complete the case anyway. All Nick wants is that carrot pen, so he tags along.

Scene 2: Judy has nothing to feel thankful about, and certainly doesn’t feel closer to Nick. He’s thinking back on his childhood, but doesn’t share anything with Judy… 

Scene 3: Instead of the flashback opening on a happy Nick, it opens on him getting beaten up by the evil children, and ends on him weeping with the muzzle strapped to his face. 

Scene 4: We snap back to the present. Judy staring, beyond tears at this point. Nick looking traumatized and bitter. He remembers he needs the pen. He thinks about the reward money if they had found all those missing mammals. He has the traffic camera revelation! He drags a dejected Judy into his scheme, which she doesn’t care about, but why the heck not? 

In this horrible alternate universe version of Zootopia, this sequence of scenes is negative from beginning to end. And what would have happened to the audience if the scenes had played out in this depressing way? 

They would have emotionally checked out.

The connection between emotions and story would have snapped.

We would have forced our emotions to abandon the story, and watched the rest of the movie feeling betrayed and cheated. 

Because in the end, all we care about are these characters. All we care about is story, and character is story. It’s no coincidence that removing the emotional changes of the scenes equated to removing Judy and Nick’s relationship in the scenes; that relationship, that B Story, or Love Story, function (oddly enough) as the heart of the movie: it keeps the story alive, it keeps us connected and invested in the narrative, it keeps the scenes emotionally turning. Before Nick showed up, and we had two characters to care about, what kept us emotionally involved in the story was our relationship with Judy, this plucky bunny that we really wanted to see succeed. Establishing that connection is a subject for another post, but in regards to scenes, this manipulation of the audience’s emotions is how you keep that connection going strong.

I just said to manipulate someone’s emotions. How villainous.

6

 We could’ve come with you.

Prompt Day 11 || Path III - Emotion/Mood: Vulnerable

Given how much he’s had to deal with, it’s easy to forget how innocent and naive and young Merlin could be. It was heartbreaking to re-watch this scene and see how Merlin believes it’d genuinely be so simple to reunite his whole family and start over. The destiny of a great kingdom may have rested on his shoulders, but here he was a just a boy longing for his father. You can tell all of the emotions running through him just by looking at his facial expressions; such stellar acting.

anonymous asked:

Hello, do you have any tips you could give me on how to write kisses please?

Hi!

For writing kisses, keep it as realistic as possible and avoid odd phrases. (So that means no tongues battling for dominance, lol.) Kisses are simple, but in the literary world, they can be earthshaking. This is fine, but again, keep realism in mind. If you, or anyone else have never kissed anyone, it might be a little more difficult to describe.

The first thing and arguably the most important thing to writing a kiss scene is the build up. What’s going on that is necessitating a kiss in the first place? Are emotions running wild? Are people just grateful to be alive after a particularly stressful action scene? Do your characters stare into each other’s eyes for a while, losing track of everything else that’s going on, or is a more sudden emotional reaction?

For the actual kiss, try to appeal to your reader’s senses: taste, touch, sight and sound. I’ve found that the highly romanticized kisses in books and movies are NOTHING like real life. There are weird noises (suction noises?). Inexperienced kissers may clack teeth together. It all depends on your characters and sometimes describing these things, while not particularly note worthy in real life, might be a little gross, so just keep that in mind.

When the kiss is over and your characters are backing away from each other awkwardly or clutching each other and breathing heavily, it’s important to describe their reaction to the kiss, both in their heads and in what they do. Read/Watch kiss scenes for ideas.

TL;DR? Keep it real, but not too real!

Hope this was helpful!

-Amanda

typhlosions  asked:

do you have any tips on making a plot for ocs? i'd ike to merge them together into something interesting but i'm not sure how to since i've been free falling pretty much as i roleplayed with them & had them interact with others characters. i'd like to make my own story/build with my characters where they can still be developed by interacting with characters that aren't mine if that makes sense.

Hello, I’m sorry for taking so long to answer. 

I don’t have much experience with roleplay, but a friend of mine do. She often sends me her work on Dramione and Taekook. So, this time, I’ll answer not as a writer, but as a reader. 

When you write a fanfic, or when you roleplay, you are creating original characters. Okay, their names may not belong to you, but everything else does. Every fanfic is an original work. It’s simply targeting an already established audience using known characters/personalities as actors. No one expects a fanfic to be real, or canon, people are after entertainment, they want to experience emotions that are rare in the everyday life, like passion, despair, rejection, fear, redemption, forgiveness, anguish, lust… people crave feelings, that’s why we read, that’s why we watch TV, or watch movies… that’s why art is essential. 

 You know how to create original content, because you already do.

A friend of mine once said: “Forget plot, forget settings, forget climax, scenes, forget all these bullshit (his words, not mine). Create characters. That’s all you have to do. Create characters… throw them into a finite space and document their relationships. That’s the job of a writer.” For some reason, I love his view on writing. It’s so simple. Instead of worrying about plots for original characters, or if they blend well with character’s that aren’t yours, think about relationships. Create interesting relationships so we can feel strong emotions.

Originally posted by teapotsandroses

How To Write Fluff

If, like me, you love writing and reading loads of fluffy fanfiction and roleplay, here are my tips to make your fluff really shine. 

#1: Bonds

Fluff scenes work really well between two people, and you need to establish what relationship these characters have. Are they friends or lovers? Teacher/student or parent/child both work well too.  Fluff is all about the love, so your characters need to have a strong bond between them. 

#2: Language

Fluff scenes are all about happiness and love, so a great scene will make the fluff that much better. For fluff, try putting your characters in a warm, peaceful environment. Fluff is also good to be extremely descriptive, especially if you’re talking about the character’s emotions. Use all the metaphors, analogies and sensory words you want. Fluff is supposed to make the readers feel good too, so help them come into your world. 

#3: Pain

Let’s talk about pain. Pain is a great motivator for fluff scenes, but they should not be the focus of it. Ex: Robin breaks his leg so Batman has to take care of him, but the fluff should be centered on how much Bruce cares about his son. Emotional pain is good too, but beware of crossing over into angst territory. Fluff is comfort and vulnerability, so weakness is okay, even for typically ‘strong’ characters. 

#4: Touch

We’ve established that fluff is all about being comforted, loved, and nurtured, so don’t neglect the role of touch in your writing. It can be simple and light, like ruffling someone’s hair, laying a hand on a shoulder, rubbing circles on their back, or more complex like a much needed sob session, or a long drawn out hug. This is where those over the top descriptions really come in handy. 

#5: Happy Ending

Fluff should leave your characters happy as well as your readers. End your story or roleplay sweetly, with peace and relief, whether it be from an inner conflict or external anguish. Perhaps your pair falls asleep next to each other, or goes off to do something they enjoy together. Just make the ending as light and happy as possible, and finish it with a very cheesy, The End. 

Hope this helps you in all your fluffy writing endeavors! 

What Good Stories Have in Common

It’s hard to stay what makes a story good because there’s no standard formula to follow, but you can pinpoint some similar elements that make most stories effective.  Stories can be a great for a number of reasons, but sometimes it all boils down to basic elements that can be expanded upon depending on your story. If you’re struggling with how to improve your story, check out some of these suggestions:

Inject emotion.

Your story is nothing without emotion. We all feel something on a daily basis and so should your characters. Good storytelling needs emotion, which might require us to expose ourselves to the world in a way that we wouldn’t normally do. If you’re not emotional about your characters, your readers won’t be either. Get to the heart of every scene and pinpoint what emotion (or lack of emotion) is driving your characters forward.

Simplify it.

Simple stories are often the best stories. Don’t overcomplicate your plot because you think it will make your story more interesting. Cut out scenes that are unnecessary. Focus on the stuff that explains something about your world or characters. Sometimes getting rid of the excess will make your story great and help tighten the narrative.

Tell the truth.

Good storytelling requires you to tell the truth about your characters and human nature. It’s important you stay true to the world you’ve created and you don’t stray from its reality. If you keep adding to the possibilities of your world without foreshadowing them in some way, or you’re not honest with your readers, they will get frustrated and feel cheated. Stay true to the development of your characters and let them grow.

Keep it realistic and relatable.

In order to keep your story realistic and relatable, you need to understand your world and characters. Give your characters flaws, let them fail, and allow them to pick themselves back up again. Your readers will relate to characters that don’t get everything right all the time. We relate to characters that fail and learn from their failure. We relate to characters that grow. Focusing on character development is the key to good storytelling and it could help fix many of your storytelling problems.

-Kris Noel

The Short Story Form.

If there’s anything I’ve learned this year, it’s how to write a standard short story. There is a “form” of sorts. And I’m not going to talk about what’s “right” or “wrong” in a short story, because the rules of a short story are really not all that cut and dry. I’m just going to share what things I’ve learned that have helped me most. 

  • Know the conflict from your first sentence. Even if your first sentence is not about the plot, you have a direction for your writing from the start. 
  • Keep it short. If your short story is running off on tangents, it might not really be a short story. It might be a novella. One thing about short stories is that you really usually only have the time to focus on one central conflict or the problems of one individual character. I try to keep my stories under 20 pages. How do you know how to do this? You read a lot of short stories, and eventually when writing you get a feeling about how long the story will have to be. 
  • Make your plot two-fold. So this is something I do that’s a little trickier to explain. I’m not talking about adding a sub-plot, but instead, make the plot you already have do more for your story. One way to do this is to have the outer more apparent conflict, then also, for the character, work in their inner, more emotional conflict. Like if a college kid has a baby dropped on his lap and is told he’s the father, he’s got an outer conflict, “what do I do now?” and an inner conflict, to delve into the more emotional aspect of it, does he want to be a father? and so on. (This is just a simple example.)
  • Know when to end it. Part of this will come with reading short stories and becoming familiar with how their endings work. You end it as soon as you’ve come to how to resolve the conflict, maybe slightly after that, but this is not a novel. We don’t usually find out what happens to them ten years later. Endings can be abrupt. 
  • Meet your characters early on. Not only meeting them in the first few scenes (because there usually only are a few scenes in the whole story), but know them as characters quickly. Know this is what this character wants and this is how they’ll act in this situation. Luckily, you can get away with not knowing them very well and figure them out in revision. Short stories are a lot easier to revise than novels, but you want to make sure your characters are vivid and vibrant. 

This isn’t the end-all-be-all for short stories, this is just my thoughts and things I’ve learned while I write them. These are things I tell myself and what works for me while I write. 

If I were writing BBC Sherlock...

and I wanted to have my audience root for a Mary/John relationship.  To see their deep, undying love and devotion.  You know what I would do?

I’d show John proposing and Mary’s reaction with teared up eyes and emotional acceptance.

I’d show their wedding vow exchange so we can hear and see how much they care for one another.

I’d show domestic joy in a simple fluff scene.  Even if it’s just sharing a morning coffee.

I’d show her comforting him after his obviously still occurring nightmares and grounding him emotionally when he’s unstable.

I’d show them saying “I love you” at least once.

I’d show her face after he is pulled from the fire, or survived a bomb or survived CAM.  Some sort of “oh thank god he’s still here” moment.

I wouldn’t go out of my way to hire an ACTUAL COUPLE who have fantastic chemistry irl and bounce off one another so perfectly, and then squash, conceal and ruin it on screen.

You know, unless of course I didn’t want my viewers to see them as a happy couple in love…  Then I’d probably have someone else do those things with John instead. ;)

Moriarty is Still Alive, and He is Mary Morstan

     One thing I really love about this show is how many detailed connections there are to almost everything. Parallels and foils are what I live for. Having trouble seeing what’s going on in Sherlock’s mind? Take a look at Moriarty, or how Irene behaves around her girlfriend. Want to know what John’s feeling right now? Here’s a similar situation with Molly to compare it to! Context is nothing and yet everything! You can cut a pointless line of dialogue from a simple transition scene and paste it in the middle of one wrought with tension and emotion, and suddenly it takes on a thousand different meanings.

     There have been sooo many posts and metas and analyses on the parallels between Johnlock so many of the shows’ background relationships (Molly/Greg/Tom, Mummy/Daddy Holmes, Irene and her girlfriend, the Hound Innkeepers, I could go on…) and even how Moriarty and Mary are the dark versions of Sherlock and John (but we’ll get to that later). It’s a very interesting concept to see a show’s major romance arc reflected in so many places, but one mirror I have noticed lies in the similarities between seasons one and three.

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     In the first season, we meet the infamous Holmes villain, James Moriarty. It is well-known that Jim is intended to be Sherlock’s intellectual equal, but who uses his skills for evil instead of good. Jim’s mind cooks up the crimes, and Sherlock’s solves them. It’s always a constant dance between the two of them, neither one quite succeeding because they’re so evenly matched. It’s a dance that inevitably leads to both of their deaths.

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     Their dynamic makes it very easy to imply relationship potential. Just take a look at all the Sheriarty shippers, and even the nod they got in TEH. Basically everything Jim does in this season is a screaming plea for Sherlock to notice him. “Look at me, Sherlock! I’m so clever! Look at all the clever things I’ve done! Don’t you love all these mysteries I’m making for you?”

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     By the end of the first season, Jim is so insistent that Sherlock drop what he’s doing and join him that he straps John to a bomb and offers him a choice: choose me or Johnny goes boom. Dramatic much? Sherlock chooses not to blow up his BFF, nor to run away with a psychotic consulting criminal, leaving Jim with no choice but to do away with Sherlock. For some reason, this situation reminds me of the Jealous Girlfriend trope that makes many appearances on other dramas: “If I can’t have you, nobody can!”. No wonder Sheriarty isn’t canon.

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     As for Mary, well, she’s not very well-known in ACD canon. We learned next to nothing about her and she vanished without so much as a single tear from Watson. She served almost no purpose, except maybe to perhaps help ACD deny the accusations that Holmes and Watson were gay bros. “Watson’s not gay! He’s got a wife, see?”

     (Similarly, Moriarty is actually not mentioned as often in ACD canon as people would think, despite some reincarnation of him reappearing in almost every adaptation of the stories. Every fairytale needs a good old fashioned villain, right?)

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     Back to Mary, since she was his wife in ACD canon, it makes sense to place her as the same on BBC. John meets the character of Mary Morstan in the time after Sherlock makes his fall. John is alone and mourning his BFF/not-boyfriend and Mary is exactly what he needs, playing the Shoulder to Cry On. She lifts John up from the alcohol-drenched abyss of his “unrequited” feelings for Sherlock and makes his life worth living again. Hooray! Except Sherlock comes back, so now what purpose does Mary serve? None! Oopsie! Looks like the Jealous Girlfriend trope is resurfacing…

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     Mary’s character on the show has a lot more depth than her ACD origin does, making her into a sort of villain for the season. Many might argue that CAM was the antagonist for the third season, but he was only introduced in the last episode…BBC Sherlock is hugely known for it’s intricacies and connections, so where is the continuity in that?? The answer is Mary. (I mean, Moriarty got at least a name-drop in his preceding episodes…CAM just came in out of the blue.)

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     In the last episode of what I’ve elected to call “Mary’s Season”, we see many very interesting things happen, the most interesting of which, I believe, is Mary shooting Sherlock. There’s just Something About Mary that she’d rather not let out, and that she’d literally kill for to keep from her husband. It seems a bit counter-productive to shoot a man’s BFF when your goal is to stay in a happy marriage with said man, until you remember remember that Mary was most useful to John when he was mourning Sherlock. Hmmmm. Interesting.

     She was willing to kill one of a duo to be with the other. Sound familiar? (*ahem* Moriarty in season 1 *ahem*)

     Since these situations are so similar, it’s an easy conclusion to make that Mary and Moriarty essentially play the same role (trying to separate John and Sherlock), making it almost 100% plausible that they are “darker” versions of Sherlock and John. Not to mention the fact that neither of these characters actually revealed who they really were the first time they were introduced. (Jim from IT/AGRA)

      From these comparisons, it’s not hard to deduce what will happen next. To make the points above easier to understand:

S1: Jim Moriarty is introduced and his desire to be with Sherlock acknowledged; villain standoff at the end of ep3, John is willing to die with Sherlock

S2: Sherlock’s rejection of Moriarty in ep1; emotional Johnlock UST roller coaster until ep3 tragedy, Sherlock appears to die

S3: Mary Morstan is introduced and her desire to be with John acknowledged, villain standoff at the end of ep3; Sherlock is willing to kill (and condemn his life to MI6) for John

In season one, the villain attempted to separate the pair by luring Sherlock away. But he wouldn’t budge. After some turmoil over this decision, there is another attempt to separate them, this time by Luring John away. Still, it doesn’t work. And so, by this logic:

S4: John’s rejection of Mary in ep1 (/ShSpesh?); emotional Johnlock UST roller coaster until ep3 (/finale?) tragedy, John appears to die

S5: John and Sherlock’s desire to be together is acknowledged, emotional standoff at the end of ep3, JOHNLOCK IS CANON

Therefore, we can expect a lot of emotional turmoil on John’s behalf in the next season, followed by their long-awaited and inevitable relationship. Because there’s only two of them, and it would get kind of old if the pattern just repeated itself a thousand times over. Everyone would stop watching because it would be predictable. Dull. Not clever.

     All of this is extremely plausible, especially paired with wellthengameover’s Season 4/5 predictions.

     In short, tl;dr: If Sherlock/Moriarty isn’t canon, John/Mary can’t be either. John is in for one hell of an emotional ride next season, and Johnlock is endgame.

     (feel free to add any additional thoughts!)

So as promised, my spoiler review of Batman v Superman. To read my impressions of this movie without spoilers and my thoughts still high on adrenaline + rants about how unfair the bad reviews are imo, click here 

 But this one has MAJOR SPOILERS from the movie, so stop reading right now if you still didn’t watch it!

THE BAD:

- The editing (or as I like to call in this case, the butchering). It was terrible. I felt like they had so much material filmed they tried to put a little of everything but when you do this, some things are just too short and disconnected with the rest of the movie. There were scenes that would be better if left out instead of adding its 30 seconds version. There’s no point in going back and forth so quickly if you don’t give time to let the scene play out in an appropriate time. The cuts were too sharp without a proper transition that could make sense, some of them I felt almost dizzy.

- Lex Luthor: I get what Eisenberg tried to do and I think it was a great idea in theory. But the execution didn’t work because the character didn’t have the proper time to play out like it would happen in an exclusive Superman movie. The movie has so many characters and parallel storylines you can’t quite grasp where Lex is coming from with all his quirks and maniac aspirations, instead of escalating and getting immersed in who is this person gradually, you’re hit right in the face with everything in the first time we see him. When you don’t have time to portray a character with so many screaming details like this, he becomes annoying and distracting. I thought the trailer was misleading and he would be better in the film, but what we see in the trailers is exactly how he is, no further development or additional layers. We get a glimpse of his past (big daddy issues, apparently Luthor Senior was very abusive) and of his psyché about  the duality of being a genius but still have no power, which is a cool concept for the character when you’re someone who lives among gods and all this discussion but it’s so small, they pretty much just jump straight out to megalomaniac insanity with him. But it’s a courageous approach, you can see Jesse gave his everything but it wasn’t enough, unfortunately. The only thing I really loved about the character was how he manipulated Bruce and Clark and orchestrated everything. But even this was rushed.

- Doomsday: I’m glad he was just a small part of the movie but I was disappointed the aesthetic we got in the trailer is all we get in the movie. Indeed he gets stronger and bigger as he gets hit but the crazy kinda spike rocks growing out of him every time it happened weren’t impressive enough to make his looks increase and look different from an hybrid of a ninja turtle on steroids with Hulk’s Abomination. I honestly thought the Doomsday from the trailer was a a baby Doomsday that would get bigger and meaner-looking as the battle progressed but even if this kinda happens in a small degree, he still looks dumb and plain bad.

- The exaggerated amount of trailers and tv spots we got beforehand: I wish I had watched only the first comic con trailer. The plot wasn’t spoiled, but some of the scenes were totally showed from start to finish in the trailers. Lex introducing Clark and Bruce, the first time we see Wonder Woman suited up, the first time Superman and Batman are face to face in costume when Superman rips the batmobile’s door off. The first was really cringe worthy as it was in the trailers but the other two were amazing and I still felt my heart beating wildly because they are epic moments and with the soundtrack wow, simply iconic, but I wish it was the first time I was watching them.

- One of Batman’s action sequences: the scene in question is one in which he is hallucinating he is ambushed in the desert. That whole fight was terribly choreographed, I have no idea why Snyder chose such a wide framing to shoot it, you can really tell it’s something rehearsed and it looks very slow. But that’s the only action scene that didn’t work.

- The continuity from Man of Steel: As much as I love that you can absolutely feel this is the same universe of MoS, I know this will turn off a lot of casual viewers. That’s the only reason I put it in the bad pile (but don’t worry, this is in the good pile too lol). Because personally, I loved how we start the movie with Bruce’s point of view of what happened in MoS between Clark and Zod. But I saw so many confused faces, most people clearly had no idea what was happening. 

- Bruce’s parents dying again: Ok cool they brought the Comedian from Watchmen to be Bruce’s dad but how many times can we watch little Bruce losing his parents and not roll our eyes? It totally loses the emotional impact when we see it happening for the 26th time.

- No post credits scene: I already knew it wouldn’t happen and I don’t expect every superhero movie to emulate Marvel so I didn’t stay but I heard so many people that waited complaining… I wonder if that’s really the last impression you want to leave on your audience, just give them something simple and small to make them happy after waiting 10 minutes for nothing.

THE GOOD:

- Ben Affleck became my ultimate batman: He plays my favorite kind of batman, what I call B&B Batman (Brutal & Bitter). He is extremely violent, he just had enough and his motivations are very well displayed. We can see he struggles from a selfless point of view in which he worries with the destruction a powerful creature like Superman could bring among humanity but you also can see him in an almost selfish light too, what can he do when people have a godlike superhero as an option? You can feel he is struggling with becoming obsolete in some ways as much as this is not the focus of his problems with Superman, but it’s there is some degree. We get to see him using his gadgets and when he breaks in to save Martha Kent omg, what an amazing fight! It really shows what he is capable of why Batman is so badass even being a regular human being with no super powers. I was cheering so much! He looks so done 100% of the movie, which I love lol

- Superman saving the world: yes, we get to see Clark saving people from fires and floods and explosions, it’s just amazing! It’s an important thing to show us after all the destruction he participated in Man of Steel, so I’m really glad they reminded everyone who is Superman and what he does most of the time. The way people look at him in an almost worshiping way was equally satisfying and disturbing but very close to how we as human beings function with things more powerful than us, a mix of blind awe and fear.

- Strong insight in what means to be Superman: For the first time I connected with Clark in his cinematographic version. You can really feel how he is the most lonely creature in the world. You can feel how he wants to do good, how much it costs him, how much it hurts him to receive injustice and ungratefulness in return and still not blame us. It’s really strong and a very emotional anchor in the movie, I was speechless about how much a felt for him and very pleased with Henry Cavill’s portray of the character. I just wanted to hug Clark, I still want to dig his body out of his grave to do it. If I had to choose I’d say I’m totally team Superman and I never imagined saying this before this movie

- Lois and Clark: I never cared much about them as a couple, but I won’t lie, they were super cute and strong together. The chemistry was there and Lois humanizes him so much and you don’t feel an unbalance in the relationship, as much as a powerful creature Clark is, Lois is the one to anchor him and give him something he desperately needs: a sense of home and belong and he does reckless things for her (how human of him) so she holds more power than him in some ways.

- Lois Lane being a journalist: I’m so glad she wasn’t doing military/astronaut work in some alien ship like in MoS because it was ridiculous. There’s nothing wrong with being a regular human being so I loved to watch her doing high risk journalism and being nosy and going after what she wants. Even if something backfires, she still gets power and knowledge that is game changer for the plot just by doing her job and being good at it, it’s refreshing tbh.

- Alfred: every minute Alfred has screen time, it’s a blessing. He sass the shit out of Bruce and you just want to kiss him for it. I never thought I would say Alfred is hot. But it’s the Jeremy Irons effect, there’s nothing we can do about it, just embrace the feel.

- Wonder Woman: She was flawless. I’m so hyped for her solo movie now. I don’t agree with people who say she should have had more scenes. I’d love to see more of her, but I think this should’ve been exactly what it was: an introduction to leave us wanting more. She is mysterious, badass, takes no shit from our little boys and she’s absolutely amazing! Seriously, the first time she shows all suited up and her score starts to play, you’ll get goosebumps, your heart will threat to beat out of your chest. It’s everything I dreamed, we get to see her using her shield, sword, bracelets and lasso. I love her chemistry with Bruce too and how she cradles Clark’s body in her arms with so much tenderness for such a powerful creature like she is. Ugh I could talk about her all day, I simply love her and Gal Gadot did a great job with the material she got.

- The soundtrack: two of my favorites, Hans Zimmer (Inception, The Dark Night) and Junkie XL (Mad Max: Fury Road) so I was expecting awesomeness and I was not disappointed. It’s a somber score with some exceptions like WW’s song that’s more wild but it’s a heavy movie so it was something expected.

- The tone: yes it’s dark and gritty but a film that contemplates the philosophical questions this one does, even if not in dept, there isn’t many other aesthetic options. I like how DC is so different from Marvel, I love both and it would be super boring if they looked the same. I’m not sure if I’ll take my kids to watch this one, because even being PG13 it’s very adult in its themes and more of a political drama than an action flick, but I’m glad we have this more grown up version too.

- The cinematography: the only thing I expect from director Zack Snyder is great visuals because it’s his forte (maybe his only one) and he didn’t disappoint with cool concepts and beautiful shots. It looks epic and large-scale. I’m also glad his directing is a little more tamed when it comes to the excess he often chooses. I’m imagining Affleck as a more grounded director gave him some advise maybe?

- The Justice League introduction: this is one of the most polarizing questions, but I particularly love how quick it was handled. I was afraid they would put too much of each new character and it’d become a pre justice league movie instead of a batman v superman one. I’m relieved to say this did not happened. It was quick, objective and even if not an epic choice to introduce this characters, it gets the job done. I don’t agree with some people saying it was shoehorned. It’d be bad if these characters would just have more exposure in the next Justice League film, but each one of them will have their own solo movie, so no need to ruin the impact and reveal too much about them beforehand. We (and the other characters) only needed to know they exist, which was accomplished.

- The continuity from Man of Steel: See, this is in the good pile too! As I said, I love that you can absolutely feel this is the same universe of MoS. Even if MoS is not a movie that I love, continuity is a blessing. And as much as the regular audience will feel confused, I loved all the nods for the more hardcore fans. They hint at Darkseid too and I can’t wait!!! 

- The Batman v Superman duel is more dramatic and political than actual action: and I see this is one of the reasons most people are disappointed, but I love how they had so much building up until their confront, which happens only after 1 and a half hour into the movie and is not overly long. These characters are not like Tony Stark and Steve Rogers, who already have an emotional connection and background. So to Clark and Bruce go to blows and mean something beyond “fuck yeah cool fight” it has to have something behind it, something that justify how it escalates, something to make it more than two angry men beating each other in some dark alley. And all the political and philosophical questions were amazing to fill this need. I see some reviewers say that the movie has outdated notions of deity and obedience but excuse my french, it’s bullshit. The point of the movie is not to defend this concept but to show how we as flawed human beings convert everything into this because it’s a pattern we understand and seek since we lived in caves. And we still can’t let go of it, no matter how evolved and civilized we think we are. When senator Finch is getting interviewed and is asked: “Do we need a Superman?” and she simply answers: “We have one.” it’s absolutely brilliant and so powerful, it’s one of the moments a movie reaches something way deeper that it even is trying to be and you just wish you could have a little more of that.

- The trinity: Batman, Wonder Woman and Superman fighting together was a breathtaking moment and even if it was more of a tease than a full on battle, I loved every second of it. It’s a dream came true and the “is she with you?” “I though she was with you” exchange didn’t ruin anything, it was actually quite cute and it helped me breathe while I laughed because I was so overwhelmed with the emotion of seeing them lining ready to fight together, wow, I needed some levity to handle it in a non embarrassing way while in public, so I’m grateful 

- Clark’s motivations to fight Batman: I can’t stress this enough: I love how Clark was forced to fight Batman. At first you’d think it’s a cheap excuse but it’s not, any other excuse to have Clark beating the shit out of Bruce even to defend himself would be stupid and out of character. Having his mother, his only pure connection with who he is as Clark Kent and not just Kal-El, to be the catalyst to his confront with Bruce was very smart and respectful to the character. It also added a lot of emotion to the whole sequence, Clark is spiraling in a kaleidoscope of emotions which breaks our heart to watch but add a lot to the character. He clearly doesn’t want to do this but resigned himself that nothing can stays good forever, omg I felt stabbed in the heart and I loved it.  

- The Marthas: Nothing makes me more happy when a movie gives proper importance to the moms. These are boys deeply changed for the presence/absence of their motherly figures. Martha Kent and Martha Wayne being what finally snap both out of their stupidity and put them to work together made me smile from ear to ear, I had to shove a handful of popcorn in my mouth to stop me from squealing loudly in the theater. And when Martha Kent says she figured Batman was a friend of her son because of the cape, man, that’s one of my favorite moments in comic book films of all time and I’ll never forget it.

- Granny’s Peach Tea: enough said, it was such a fabulous twist!

- The death: Ok last but not least, from the moment Clark grabs the kryptonite spear from the moment the end credits rolled up, I was a mess. I started crying right at the moment Lois started to beg him not to do it, and you can clearly see he is going to do it because if not him, who else? When Bruce wrapped Clark’s dead body in his cape to let him slide into Wonder Woman and Lois Lane’s arms, omg, what a powerful scene! I don’t care about how in superhero movies nobody really dies, fuck it, I felt, I felt every bit of it, and I still can’t believe I felt so many emotions in such intensity watching a Zack Snyder film. How iconic was too watch both funerals? One is the spectacular burial of Superman, god, alien, resource, mysterious creature, criticized and hated by most in life but an admired hero by everybody in death. As they say, the perfect heroes are the dead ones because they can’t disappoint us. The other one was the burial of Clark Kent, son, boyfriend, protector, friend, a good man. A very small ceremony at his home, the home that embraced him as a person and not a commodity. I was floored with feelings and the little hint that he’ll return didn’t ruin the impact of the brave choice the script made in killing him off, because it’s expected that he won’t stay dead and kids would leave the theater in tears if they didn’t at least hinted at it.

- “If you seek his monument, look around you”: The quote from architect Christopher Wren’s tomb is so powerful and perfect in this context, I love how they used it for Superman, wow!

CONCLUSION: Yesterday I said I enjoyed BvS very much. Today after a whole night and day to digest it better I can even say that I loved it. It’s those kind of movies that has so much going on and goes against everything you were expecting that you need some hours or days to digest and let it settle in your heart and mind and accept how great it was for what it tried to be and not for what you thought it would be. You have to let go of your speculations and expectations and be free of all this to really embrace this movie, because it’s absolutely the opposite of what everybody predicted and this is a good thing. I’m even more excited now for Justice League and Wonder Woman than I was before. Go see for yourself instead of just following the critics that don’t have the same background as us fans, specially if you love comic book movies!

anonymous asked:

Howdy! I looked through your FAQs and didn't really see anything directly addressing this (though I could have, and probably did, miss it), so I was just wondering if you have any advice on developing ones own style? Your art is so slamming and original and ahh h

hey there! developing an art style is like developing uh… fuck it, there exists no analogy that is not fucking trite.  fuck it. developing a style is bitter and painful if you’re impatient (like we all are) and only satisfying when you get to the “end”, which does not exist, because all forms of development are on-going and never actually “end”.

that said, my advice is to think about the process rather than the result.

i don’t think there is an actual proper way to develop a “style”. i am pretty sure there are multiple essays floating around that discuss how the idea of “having a style” is flawed for some particular reason or another. but who cares, you don’t want to read about that.  you want to read about how to learn how to draw things unique to you.

my initial response is that this is both impossible and totally naturally occurring.  nothing is 100% to original to you in the sense that you cannot escape influences. everything you see, touch, feel, consume, experience… it all influences you, whether or not it is visual art.  however, the way in which you are influenced by things depends on your own particular experiences, which are unique to you.

you eat a piece of media, you process it, and your digestion/reaction/understanding/representation of that media depends on your experiences.
you see a drawing you like, you think about why you like it, you represent that understanding of “why” in your own way based on your experiences (because why you like a thing certainly depends on where you’re coming from).

ok anyway now that i’ve been philosophical here’s some tips

  1. look at things you like.  it can be anything.  i personally believe it is best to pull from  a wide variety of things you like (example: i like  Yumeka Sumomo; i like John Carpenter’s The Thing; i like Rene Magritte; i like Ono Natsume)
  2. as you look at the things you like, think about why you like them. this can be very ~deep and meaningful~ or it can be totally aesthetically based. don’t psych yourself out. follow your fucking heart and be true to yourself, no matter how silly you may or may not feel. (example: i like how Yumeka Sumomo draws eyes because they are so simple but convey so much emotion; i like how John Carpenter’s the Thing uses both disgusting visuals and atmospheric tension to freak the audience the fuck out; i like Magritte’s seemingly subtle use of surrealism to portray scenes that make the viewer ever so slightly uncomfortable; i like Ono Natsume because her art reminds me that you don’t have to Follow the Norm to draw attractive characters or tell serious stories; bonus round: i like Okazaki Kyoko because she reminds me that perfection is a fucking lie and the point is to express and idea or feeling, not to get everything perfectly right)
  3. think about how you can do those things with your own work.  experiment.  perhaps play a little with stylistic elements you enjoy in other peoples’ work.  i think emulating artists you respect and look up to is normal, because you KNOW what you think looks good, but you don’t know how to make things like that yourself. so draw eyes the way Yumeka Sumomo does. Use ultra thin lineart like Okazaki Kyoko. play around with brushstrokes like Ono Natsume. Draw hot dudes with broad shoulders the way your fav artist online does. follow your fucking heart. (example: i don’t have any of the work on hand, but in high school i played around with Ueada Hajime’s art because it was so different from everything else i had seen and i liked how the weirdness of the art didn’t impact the story being told; i think i may have done the same for Sumomo Yumeka’s art around that time)
  4. ok now stop looking. draw something. maybe go back and take a quick peek at those artists you thought of before. then leave them alone.  draw some more stuff. look at different artists. keep drawing. take a break. drink some water. as time goes on, look less and less at those artists you like. think less about how they portray those elements you enjoy and think more about how you want to portray those elements.
  5. bonus step! consider the relationship between yourself and the thing you are drawing. how are you interacting with your subject? how do you feel about your subject? why are you drawing the subject? etc etc etc. the answers to these questions potentially influence how, stylistically, you want to represent your subject.
  6. MANDATORY VIEWING: 4 Artists Paint One Tree is my absolute favorite video on the entire internet. i apply the entire ethos and message of this video to literally all types of creative work. Robert Henri’s Art Spirit (cited at the beginning of the video) is my personal art bible and i totally recommend it.

i once asked my friend (♥ ♥ ♥) what it’s like to make music and he told me, “a lot of people get into producing stuff by listening to something and trying to emulate it. pretty much everyone starts out with just a computer and headphones by downloading some shitty program and playing with … and spending lots of time alone in their room making stuff they really don’t like until it finally gets a little better after a few years.”

whatever style you end up with at first is going to start off looking like shit. you’re going to hate it. but you’re going to keep drawing. you’re going to draw for a really long time. sooner or later you will like what you are drawing a little more than you did before, and then you will keep drawing. you will curve the jaw a little differently one day and realize that was the missing piece. you will try drawing fluffier hair and realize it was a horrible fucking mistake. you will keep fucking around and fucking up and you will keep drawing.

time will pass and you’ll realize you’re not even looking at those artists for stylistic inspiration anymore. you’re looking at them because you enjoy them, but you’re doing your own thing. and then you’ll draw some more.

keep fucking drawing.

10

So I decided to do my top-10 Stelena scenes from season 1 to 4. It was a really tough task. I wanted to include so many more scenes as every SE scene is so beautiful and has so much meaning to it but these scenes in particular sent shivers down my spine, had me sobbing and according to me had most impact.

10. 4x19: “Does your heart really refuse to remember?”
This scene was one of the few season 4 scenes I enjoyed. The chemistry between them was so amazing. Stefan reminding a humanity-less Elena who she really is and you could see it in her eyes that his actions were having an effect on her. I was upset that more light was not put on this, that Stefan was one of the only ones to ignite some emotions out of her. Nevertheless an amazing scene with the song “Stay” adding to its epicness.

9. 3x22: “Just in case there is no later”
I loved this moment between them. They both were so raw on emotions. Both had been through hell being apart from eachother and somehow hoping to find their way back. Just a simple kiss had so much meaning. You can see the want and need in Stefan’s kiss. He’s been waiting since forever to kiss her and be close to her again. Its safe to say that I was screaming when I saw this scene.

8. 3x14: “Its been a while but I still feel the same”
Ugh this dance. It just came outta no where and hit me right in the feels. No one was expecting this episode to turn out how it did. Atleast I wasn’t. It was so prefect. From Stefan finally showing some emotions towards Elena and Elena trying to make him feel more, this was such an angsty episode. I loved it! And “Give me love” has to be one of the best song choices TVD has made.

7. 2x21: “Close your eyes”
The Goodbye scene. I was a sobbing mess after it. You can see amount of love and respect they have for eachother. They are willing to let each other go when the circumstances demanded it. That is what defines a true relationship. That unconditional love and respect. I always admired that about these two. This was such a beautifully shot scene. 

6. 2x05: “Its you and me Stefan, always”
This was such a strong moment between Stefan and Elena and had so much passion. Bloodsharing was such a big step in their journey. This scene was so beautiful. I have no words.

5. 2x11: “Hey! Hey”
This sceneeeee! Its one of my favorites! Just the look in their eyes. I just. Its so beautiful. They love each other so much and just couldn’t stand being apart even for a few days. Absolutely loved this moment <3

4. 3x05: “The only thing stronger than your craving for blood is your love for this one girl”
This episode. Where do i even begin. One of the best episodes in TVD history. That one line told by Klaus just sums up Stelena’s relationship so perfectly. For Stefan nothing matters more than Elena. He would die for her. She is his world. Just typing all this is making me so emotional. This episode is self explanatory. Its too epic for words. 

3. 4x01: “No matter what happens, its the best choice I ever made”
The season 4 premier. I feel like what Elena said is the basis of the whole series and Stelena’s relationship. Stefan is Elena’s best choice. They just fit together. They bring out the best in eachother. And somewhere in my heart I feel that this will come into play. Everyone knows it. Even Elena knows it but is just not quite there yet. 

2: 1x10: “Don’t hide from me”
DONT EVEN LOOK AT ME! THE MOST BEAUTIFUL LOVE MAKING SCENE IN HISTORY OF LOVE MAKING. Everything about it was perfect. The “don’t hide from me” was just ughhhh! Elena accepting Stefan for who he is and looking at him like he is the most beautiful thing she’s ever seen. I just. <3333333

1. 3x01 “I love you Stefan. Hold on to that. Never let that go”
This scene. The most epic scene in history of TVD hands down. I still cry whenever I watch this scene. Stefan’s face. He is so broken. He just needed to hear Elena’s voice. No scene will ever be better than this in my opinion. After I saw this I knew that Stefan and Elena are endgame. They are the epic love of TVD. Even if you don’t ship them, you can’t deny this scene gave you the chills. Just beautiful.

anonymous asked:

Ok im sorry but why is nobody talking about how heternormative Victor/Yuuri is a ship >.< the whole ship from what i see is another ship where the nice emotional small one (yuuri) heals a selfish jerk assholes with the power of lurve. that's the same garbage we get in yaoi. why does fandom always cream itself over ships like this???? guess what it is NOT normal in a relationship for one person to do all the emotional work and that's the dynamic you shippers are praising as healthy.

I’m going to assume this is the same anon since it’s basically the same message. I was going to just ignore this but now it’s just too much.

There’s a lot I could tackle from these asks but I think I’ll mainly talk about the Victuri dynamic. From the way you’re talking, you’re making it sound like Victor and Yuuri have an unequal power dynamic. That either one or the other (in your case you’re saying Victor) is holding the reigns, and that one or the other (again, in your case, you’re saying Yuuri) is the emotional support in the relationship. So let’s look at scenes that show both of them fulfilling both roles.

Keep reading

do you ever just sit and think of how well skam is directed and written?
everything is so simple yet full of tiny pieces of gold.

all the subtle details you thought were harmless you notice them days after or when you rewatch a scene?
all the parallels between a casual dialogue and a long and intense scene?
all the things the characters have been through and you can see it in every moment of their acting?
all of these scenes filled with a silence that meant more than every words?
all the times you were just watching but felt overwhelmed by the emotion and beauty of a scene?

besides how amazing the show is, how it deals with so many issues and how good the acting is, skam is purely art.

z