i change character's lines because i can

I have some opinions/thoughts that I’d really love to get off my chest even if other people think I’m completely wrong.

Gaston did not deserve to die, Gaston was hardly a bad person, Gaston was basically forced into being the villian of this story.

[I’m referring to the 2017 remake of BATB rather than the original animation.]

Let’s point out some difference between the 1991 Gaston and 2017 Gaston
-2017 Gaston was not a misogynist
-did not abuse Lefou
-even verbally
-Like for fucksakes, the friendship between Lefou and Gaston was so genuine. I’m frequently seeing these things around Gafou is an abusive ship, buts it’s really not? He tells Lefou ‘thank you’ says ‘you’re the best Lefou’ sincerely asks ‘how has no woman snatched you up?’, messes around with Lefou like buds (wrestling bite marks, picking him up to demonstrate strength, gets on the table and dances with him), let’s Lefou calm him down and boop his nose, and not once does he insult or hurt even when it seemed like he would (after Lefou wrapped his arms around him, or when he couldn’t spell his name, when he said ‘who needs her when you’ve got us’, etc). They’re sincerely good, close friends, but don’t worry I’m not ignoring all the shitty things Gaston did to Lefou I will get to that in a second.
-I said he’s not a misogynist, right? Cause that’s important. Big step away from the OG.
-Doesn’t insult Belle for reading
-Instead he feigns interest in the book because he knows it’s her interest
-even brings her flowers, whataguy
-Has manners (“excuse me, please let me through” going through the crowd, didn’t push everyone out of his way)
-Goes to her rescue when the town’s people are being mean (sure this is because he wanted to be the hero to seduce her, but seriously he was one of the few people who didn’t harass or bully Belle for being different)
-Doesn’t call Maurice crazy and instead offers his help to soothe the men (again, seduction, but seriously he’s still being polite and helping the underdog unlike the OG)

I’ll probably think of more things to add to this Gaston-wasnt-an-asshole list but I think this basically gets the point across that, well, Gaston wasn’t an asshole. He was immensely vain, yes, but that doesn’t mean he was a bad person.
Cus ya know who else started out incredibly vain but still managed to be the fucking prince in this story?
Yep, the Beast/Adam of course.

Time to do some comparing of the prince and the villian because spoiler alert, they basically parallel each other.

I’ll begin this part with Belle’s comment of, “No one can change THAT much, Gaston”

This line pissed me off immensely, because that’s literally Adam’s entire character arc, changing himself completely, literally and figuratively.

Like I’m sorry you wanna do a repeat of the song “Something there” aka the song where the lyrics are basically “he was an asshole brute who I hated but now he’s c h a n g e d”
Literally so pissed off at that all.

But as I was saying, Gaston basically mirrors Adam’s arc, meaning to say they’re practically the same character things going on but sorta reversed.

Like okay
-Upon first meeting Belle, the Beast locks her father then her in a tower and is a huge dick but then they bond over books and he gives her flowers and he’s nice to her.
-Upon first interacting with Belle, Gaston is nice to her, gives her flowers, tries to bond over books, but then he’s a huge dick and locks her father and then her in a cart.

Do you see what I did there? Literally the same actions, but backwards.

Let’s do some more comparing.
-They both have terrible, terrible tempers.
But you know what? The Beasts is definitely a lot worse than Gaston’s.

Let’s review how both Gaston and Adam dealt with Belle’s dinner rejection
-Beast: literally motherfucking demands she has dinner with him, bangs his paws on the door, scrEAMS at her, and then announces she can starve if she won’t eat with him
-Gaston: [not direct quotes, can’t remember exact words but basically what he says] “oh, busy?” nope “okay, then some other time?” boom that’s that. Yeah he still is persistent on winning her over even after this rejection but the man handled it a lot better then Adam (and he brought flowers for her dinner table).

I’m about to move on from Adam and start talking about how Gaston treated Lefou in a sec, but I would just really really really like to put some emphasis on the fact that both Adam and Gaston were incredibly narcissistic men. The amount of self pride and conceded they have is in the beginning is completely parallel and it leads to both of their unfortunate fates. The point in this, is Gaston is not a bad guy just because he loves himself a bit much, just as the Beast was not a bad guy for loving himself too much. Like, the way Adam turns down Agatha for being ugly seems exactly like something Gaston would do, so why does the movie end with Gaston dying while the Beast learns his lesson and gets his happily ever after?
Because, the OG Gaston was truly an asshole who deserved to die and this 2017 remake of course had to stay true to the story. Even though this Gaston really wasn’t a true villian and didn’t deserve to die – rather he deserves a redemption arc just as Adam was given – he died anyway because that’s how the story goes.

Anyway, I’ll get on with this and bring back Lefou.

Some of you have probably been reading this while thinking “But Marley [das my name], Gaston was a shitty person, he wasn’t a good friend to Lefou at all because he manipulated him, let him get punched in the face, didn’t protect him at all, and threatened to lock him up. Plus, he was only into Belle because she’s pretty.”

Alright alright alright: Lefou.
He’s an exceedingly important character as he gives us insight to Gaston’s character.
Two crucial things he reveals about Gaston … .

-Gaston has anger issues. My father has anger issues, and so do I, and we both are on meds for it. Let me say, having anger management problems and getting angry are very different things. It’s just like he having anxiety and getting nervous are very different things. I think most of you can probably relate or understand anxiety more then anger issues, so just put yourself in Gaston’s shoes with that in mind. Anyway, back to Lefou. He shows us that Gaston has anger issues when he rushes to Gaston’s aid by saying “deep breathes” and then “think about the war”. He tells us that Gaston has coping mechanisms for when he gets like this. Does it matter if Gaston has anger problems? Does it make him less of a dick? Like, seriously Marley, does this information really make up for any of the things he did? Yes, yes it does matter. It’s like when you/someone your love is having an anxiety attack, or when you fall into a depressive episode, or when a loved one acts out of PTSD [which Gaston could totally completely have], or when someone with schizophrenia or delusions starts having episodes, it’s basically exactly like whenever anyone’s mental illness starts to act up. You don’t feel like yourself and you don’t so things you would normally​ do. This is definitely the case for Gaston; he acts out of character when he gets angry like this. And that’s my second point that Lefou proves in this movie.

-Gaston is not being himself when he starts doing all that terrible shit that leads him to his demise. Lefou makes it fairly obvious that that is not how Gaston usually acts. He does this in numerous ways which I will quickly try to summarize and go through:
1) Questions Gaston. Obviously if Gaston often tied up old men to trees or in general left people to die, Lefou would have just went with it instead of going “are you sure?”
2) doesn’t immediately lie to save Gaston’s ass. Again, if Gaston frequently had Lefou lie for him, then it would have came to Lefou like second nature and he wouldn’t have hesitated.
3) Once more, questioning Gaston. The scene I’m about to refer to is when Gaston locks Belle and her father in the carriage. Lefou grabs Gaston’s arm and goes to question him again, but before he can Gaston threatens to lock him up as well. Dick move on Gastons end, no? But this isn’t something he would normally do or say to Lefou, for if it was Lefou wouldn’t have bothered speaking up because he would have known what Gaston’s reaction would be. Instead, Lefou is used to being able to talk sense into Gaston and reason with him (refer back to nose boop scene).
4) Running to Gaston’s side for protection during the fight [castle scene]. Lefou is probably used to having Gaston protect him during fights (war time) and obviously didn’t expect Gaston to throw him to the enemy. Like, yous guys heard him shriek Gaston’s name before the piano fell on him, right? He was obviously expecting Gaston to rescue him. Even after he’s trapped under the piano, he still reaches and calls out for Gaston. The way Gaston is acting is not the Gaston he knows.
5?) “I was on Gaston’s side, but we are so in a bad place right now” [however he says it you know the line I’m referring to]. Aight I think this is the one line that really captures the point I’m trying to make. Lefou has switched sides because Gaston is being a major douchebag and Lefou’s not having it. Lefou doesn’t put up with being treated like shit [MrsPotts saying he deserves better and Lefou agreeing]. So o b v i o u s l y Lefou is not used to Gaston being so cruel and angry. If Gaston treated Lefou like this all the time, then Lefou wouldn’t be by his side [because he left his side once he started acting like this]. Lefou knows how he should be treated, and how he’s being treated is not what he’s used to.
You dig what I’m saying? I’m kinda rushing through these points because I’m getting tired of this.

*deep breathe* Alright, last point, as I mentioned above, ‘Gaston only wanted Belle because she was beautiful’ Alright alright alright I’m not even going to talk about the Gaston in this point, I’m just going to talk about the huge flaw that is Beauty and the Beast.

Adam is turned into the Beast because he needs to learn to not judge people by how they look, he needs to learn that it’s what’s on the inside that matters.
So why is Belle the one that learns this lesson?
Adam falls in love with a gorgeous girl, meanwhile Belle falls in love with a hideous monster who turns into a nice dude on the inside.
Belle is the character who learned to not judge a book by its cover [cover being a monsterous beast but inside he is a gorgeous prince].
As soon as Belle walked into the castle, all the furniture was like “yooooo she could be the one, master hit her up” and instantly Adam’s like “well I need a girl to fall in love with to break my curse and she cute yeah let’s do it”. Like of course there’s more to our then this, but what I’m trying to say is Adam had already planned to try to charm Belle before he knew what kind of person he was because he was desperate to break the curse.
So he and everyone in the castle just saw her and was like “she was a girl, he was a boy, can I make it anymore obvious?”
So anyway anyway anyway, Gaston was only interested in Belle because she was beautiful and he wanted a wife, but Beast was only interested in Belle because she was beautiful and could break the spell. See the parallels again? Like, Beast later fell in love with Belle for who she was and she made him a better person, Gaston could have totally done the same thing.
And okay, there’s no proof Beast cared that Belle was beautiful or not, but yo, Disney definitely should have made Belle ugly af so when Adam met her the snob in him would have been “ew she’s ugly, next” and then Lumiere and Mrs. Potts woulda been like “boi Imma whoop yo ass if you don’t give that girl a try, I don’t care how fucked up her teeth are smfh” and then Adam would have learned the lesson that the enchantress was trying to school him about in the first place [this applies to the 1991 animated film, not directly at the 2017 btw]

Well I was trying to keep this professional and moreso eloquently written but you can tell I’m coming out of my cage and I’ve been doing just fine gotta gotta be down because I want it all

Okay okay okay
Okay okay

I believe we’re nearing the end. I believe I’ve said all I needed to say made all the points I could [honestly definitely not because I’m constantly thinking about this and arguing with no one in my head, I have a lot to say and later I’ll be making toast and be like “anD ONE MORE THING”]

I’m very upset Gaston died because he wasn’t a terrible enough character to deserve death.

So Dear Disney, either make Gaston more of a shitty person, or bring him back to life. I’ll be waiting for an apology letter until this is done.

Of course I’m kidding.

I just have such a love and passion for Gaston and I’m truly sick of hearing people tell me that Gafou is an abusive ship and Gaston is a villian.

And if you refuse to see that Gaston wasn’t a bad guy but still believe that Adam is such a prince than you’re insanely hypocritical.

People just see what they want to see.

Also I’m terribly sorry for making this so diddly damn long, I honestly have no idea how to do the cutoff “Show more” thing, I’m on mobile. So sorry if you’re trying to rapidly scroll past all of this and it’s taking forever.

But honestly fuck you don’t scroll past my argument.

And also if you legit read all this then motherfucking congratulations to you. Like I don’t even want to read all of this shit to edit it.

Thanks for the attention. Marley OUTT

Valid SU criticisms

• Art is inconsistent (and not in terms of ‘storyboard artists have different styles’ just ‘characters change height’)
• Several off model issues that cannot be passed off as tweens
• Plot is sandwiched between lots of filler
• Several characters could be better written

Not valid SU critisms

• Characters doing something bad and learning what they did wrong at the end of the episode is bad writing
• This one line in one episode I can easily interpret as rape apologism
• Alien characters are 'whitewashed’ because I don’t know a damn thing about lighting
• A character who underwent extreme trauma being mean and lashing out is bad; even if their more extreme behavior is called out
• This show has bad 'black’ representation b/c Bismuth, a blue space rock lost her way and considered killing her opponents even though doing so would be equivalent to giving chainsaws to the Japanese when the US had the atomic bomb. (The Pizzas, who are an actual hard working black family, don’t count apparently)
• Nitpicking minor details on a character’s clothing and asking why it hasn’t been explained yet.
• It’s not progressive until it’s about me

Yuri on Ice BD audio commentary translation - Volume 3

Translation of the audio commentary of the BD/DVD vol.3, by Mitsurou Kubo and Junichi Suwabe, voice actor of Victor Nikiforov. I really wanted to post this before the weekend because I’m not going to be home a lot, so I decided “well, I might just not sleep tonight and translate this instead”… This time there are some parts that I translated almost integrally. They talk a lot about Victor, especially Suwabe’s struggle to get into the role. It provides insight while at the same time not providing… since apparently it’s very hard to guess what is “right” when talking about Victor. I’m sure you will get what I mean if you read what they say…

The commentary is only for episode 6. Episode 5 has no commentary. It’s not a full translation but I summarized most of what they said, and as I wrote above some parts are almost completely translated. As in the previous ones, the format is different from normal interview translations, and you can find my comments too (mostly in brackets).

Translation under the post because it’s long. Enjoy!

Keep reading

@ Antis

If you’re now saying along the lines of “I never saw Allura as a teenager so I’m not going to change my mind now and I’m still going to ship Shallura” you need to stop shitting on shaladin shippers for interpreting the other characters as different ages because you literally can’t have it both ways. You can’t pick and choose depending on the ship. If you’re going to shit on people regarding supposed ages when shipping Sheith for example but still ship Shallura, you are a hypocrite, and your argument doesn’t work.

anonymous asked:

For God sake Elena didn't lose anything with Damon . She was happy with Damon . Damon helped her in every way even Stefan said so . Elena never really loved Stefan she didn't even knew him properly she fell madly in love with Damon . You wanna ship se do but don't say Elena was puppet in de relationship . Stefan was just the chapter in her life the same way Elena was the chapter in Stefan life .

And if you want to ship DE then go ahead but stop being so willfully ignorant about your ship, anon.

I have multiple posts about the inflation of DE:






But you guys seem adamant on making me repeat myself.

“Elena never really loved Stefan”

Where is the proof of this? I mean next to the fact that she consistently declares her love for Stefan

These declarations of love are earned by how ride or die Elena was for Stefan.

Like you don’t face werewolves and go into vervain/snake-filled wells and run into a house full of tomb vampires and risk coming face to face with the supernatural monster trying to kill you if you don’t “really” love someone. This type of devotion is not bred from obligation, anon.

she didn’t even knew him properly

Elena knew Stefan so implicitly that she knew he was on the other line when he didn’t even say anything:

Elena’s emotional and spiritual knowledge of Stefan (which I speak about here: http://zalrb.tumblr.com/post/158674534265/can-you-show-examples-of-stelena-knowing-each) is unparalleled and that knowledge and that connection actually, and not DE-actually, but actually actually made Stefan a better person: 

We started this season with Stefan drinking Elena’s blood. Is that going to come back to haunt him or haunt them as he drinks more human blood?
Julie Plec: Not at the moment. I think that in its own way, it was a smart choice. He’s come to terms with all his demons from last year and all the guilt that lead him down that road and Stefan’s issues with blood were psychological and emotional. And drinking small tiny amounts every day with the trust and the commitment of your one true love to build up the strength so that you never have to worry about becoming that guy, I think we want to see if we can deliver on that. (source)

And this declaration to Rebekah (and Julie’s quote about Stefan) is earned in action and not simply dialogue. It’s earned in action because pretty much whenever Elena came face to face with Stefan’s demons, his lust for blood, his voracious vampirism, her presence, her emotional knowledge of Stefan would make it subside. It begins in 1x10 because she’s actually seeing past his vampirism, embracing it and accepting it, seeing to the man:

which allows for this to happen:

and that type of connection doesn’t go away because in 5x04 it’s repeated:

And in 5x06 it’s reiterated how much Elena brings Stefan back to life:

And in 6x16, Elena is directly related, yet again, to bringing Stefan back to his humanity, narratively, she is directly related to him being the best version of himself:

she fell madly in love with Damon 

I guess we’re ignoring the fact that Elena literally had to die and then be emotionally entrapped by a bond that gives her the illusion of free will to make DE happen. I talk about that here: http://zalrb.tumblr.com/post/156287220175/i-really-liked-your-toxic-relationship-post-but but the highlights are these:

“The bottom line is that Elena as a human made a very, very, very clear choice that she would love Stefan always and forever,” she says. “But then her entire life turned upside down, and any feelings she originally had for Damon were still there, and of course magnified. There was always going to be a little bit of a confusion there for her — but not enough confusion for her to be over Stefan. It would take a lot to rip Elena away from loving Stefan. It would take years and seasons. We’d be eighty, if we followed the natural progression of that relationship.”

Damon helped her in every way even Stefan said so

H O W?

I have asked this many times and no DEr has been able to give me a legitimate answer, all you guys give me is what you think happened, it’s conjecture based on unearned dialogue. I want to know what he’s actually done that has propelled Elena’s character development because from what I recall, it’s Stefan who’s the one who always helps her:

but don’t say Elena was puppet in de relationship

Except that she is though. Because the DE relationship is inherently Damon-focused, Elena is his plot line so she actually just has to be there, it’s not about the both of them unlike SE:

Julie Plec: I can only say that it’s a show predicated on a girl coming back to life and her development of love for one brother who then, because of who she is, changes the life of the other brother and that’s our show […] (source)

Even the 6x22 goodbye scene is inherently about Damon:

“ It’s our way of the characters having sex in like a beautiful way, so it made perfect sense on the road, which is symbolic of Damon’s journey as a vampire[…]”

as opposed to the SE goodbye which is inherently about Elena and their knowledge of each other:

“That’s where she admitted she never wanted to lose her humanity, she didn’t want to be a vampire, and so he found it fitting for them to revisit that environment,” Dries said.

The sire bond … Elena isn’t given any complicated feelings about the fact that she’s emotionally enslaved to someone else, all she has to do is believe that she loves him:

I think the takeaway, ultimately, is that Elena believes it so fundamentally that in that moment, it’s enough for Damon to let himself believe too.

and it’s Damon who gets the “character” exploration of struggling with something and letting himself believe it’s real or not real, they make it inherently about how Damon feels when it’s Elena that this is happening to:

And it’s gonna continue to eat at Damon for the next few episodes […] Just letting himself allow it to be real for one small moment is enough for Damon.

At least with Stefan and Elena, she’s allowed to have complicated feelings which actually enrich their relationship because she goes through a multitude of emotions:

Plec assures that this storyline will be a big deal for the Stefan/Elena relationship, especially as Elena struggles “with her desire to help rescue this person that she loved very purely and very deeply, but also learning the lesson that you can’t necessarily let yourself be consumed in your life by saving someone else’s.”

Even their first meeting is solely for the benefit of Damon:

It was us wanting to give Damon something to fight for. Ric is unbeatable, a jillion times stronger than Damon. Damon was a dead man, and Ric was relishing beating him, and Damon had nothing left to live for, having been passed over once again. It was just that slight little thing that she said to him, when she was just trying to take the sting off: “Hey, maybe if you and I had met first.” She was just trying to soften the blow. But in reality, he had this memory that gave him the will to fight back. I love that moment, where Ric’s about to drive the stake into him, and he’s like “You know what? I’m not ready to die today.”

And with SE, it’s about how they save each other:

Julie Plec: In my mind, Elena’s parents are dead. It was a human accident, and a human tragedy, and as we know, the night that Stefan pulled her out of the water and saved her life. That was kind of the beginning of their love story. (source)

She isn’t just this symbol to be reacted to.

Even when Nina talks about SE, it’s about the individualism of Elena in relation to the love of SE:

Nina: But Elena — it’s not about that for her. She cares about Stefan. And he’s important to her and she has this connection with him, but she will put her friends and her family and the safety of her town before anything else, and she’s not going to swoon over the fact that he’s a vampire and ask her to bite him right away and all that. (source)

and you see that in their relationship. She doesn’t realize she can be with Stefan until after he saves Bonnie’s life in 1x09, she doesn’t get back with Stefan in season 2 until after he sacrifices his freedom to get with Jeremy out of the tomb, they take care of the people around them together, whether it’s saving Matt or taking care of Caroline after being tortured or helping Bonnie when it comes to Emily, where is any of that with Damon? They can’t even meet Bonnie halfway in the Prison World because they’re too busy arguing about their relationship. She doesn’t know what’s going on with Jeremy because she’s too caught up sleeping with Damon, she isn’t even paying attention to the parent-teacher interviews, she doesn’t care that he killed Aaron and kidnapped Jeremy again and the show doesn’t actually explore the psychological battle of loving someone who does these terrible things, she makes one comment about bending her morals and that’s it, that fundamentally reduces her character.

In season 8, the show very rarely (if ever) talks about Elena as an individual person or about her significance to the other characters, it’s all about how if Elena was there then Damon wouldn’t go off the rails, if Elena was there she would be able to get through to Damon, I wish Elena was here so Damon wouldn’t be the way he is, there are like four times in the season when Elena is spoken about outside the context of what she can do for Damon. When Elena wakes up, she realizes that Stefan is gone and she and Bonnie briefly share in that grief and then instead of asking about Bonnie, it’s “where is he?” 

It’s only when Damon is gone that Elena actually is the person she’s supposed to be because the show gives her other focuses like bringing Stefan back or bringing Bonnie back to life or setting Caroline up or getting everyone together to do shots so they can hang out, when Damon is back in the picture, the show just shackles her to him.

Stefan was just the chapter in her life the same way Elena was the chapter in Stefan life .

Except not? Their connection exists throughout the series and it’s proven repeatedly that they depend on each other and are tied to each other more than they’re tied to other people. Like Elena could break compulsion for Stefan but she couldn’t do the same for Damon.

In season 8, Bonnie tells Stefan to find his hope and what he does right after is write to Elena:

In the finale Elena is found sitting at the Salvatore crypt, writing about how she owes her life to Stefan:

[and I talk about how this is different than Matt here: http://zalrb.tumblr.com/post/158520624145/elena-wrote-in-her-journal-that-she-owed-her-epic]

In season 7, Caroline talks about how she’s been waiting for the day Stefan could love her the way he loved Elena

Not to mention the natural intimacy of SE and the romantic undertones of their scenes:

Like their narrative, their action, seeps through everything, DE has the dialogue, we have what actually matters.

Ways to tell if your characters are too similar

I just finished the first draft of a novel I’ve been working on diligently for many months, and while I was editing I found that two of my characters, both whom I love with all of my heart, were oddly alike. Both of them were snarky, conceited, good in combat, and loyal to a fault, which also made me pick out a few cliches.

Editing characters so late in the game has proven to be absolute torture, so here are some ways to tell if your characters are too similar, so you can pick it up early on so that it’s not hell for you to change it when your manuscript is finished.

First off, I just want to tell you that these are my personal ways that I’ve come up with to decide if characters are more similar than the writer would like, and in no way am I demanding for you to change your characters to be more different if you find that they are, indeed, similar. 

1. Make a list of their personality traits

This one is an easy one to do right off the bat. It’s very simple, and if you think that two or more of your characters seem to be copies of each other, just make a list of their traits and abilities. If you find that all of your characters prefer/use knives, change it up a bit and have a character have a whip instead, or maybe throwing stars.

This is for general, overall traits, and this method has a few faults when it comes to the depth of characters.

*****There are different levels of certain traits.*****

For example, your character can be creeped out about spiders. This could either be just a slight annoyance, or the fear absolutely cripples them, making them useless in combat against spider beasts.

Another example is if your character is selfish. Are they selfish in the way that they don’t like to share food or weapons, or are they selfish in the way that they will desert their friends in the heat of battle just to save their own skin?

That’s why you shouldn’t immediately assume your characters are too similar just from this one list that you make!

2. Create a situation and have all of your characters react to it

If you really want to know if your characters are too similar, you’ll have to start going into depth. Now, as a fiction writer you probably enjoy making up scenarios, and for this task you have to have your characters to react to something. PREFERABLY NOT A SCENARIO FROM YOUR ACTUAL NOVEL/STORY

You don’t even have to write it down. Just think about it.

Here are some things you can wonder about your characters:

- What would they do if they were locked in a doorless room that had only one window, which was blocked by bars, with all their weapons taken except a butter knife? There are guards outside the window, and one of them has a weapon that looks sharp enough to cut away the bars.

- What would they do if they were about to be tossed into a pit of snakes?

- What would they do if they were knocked out and woke up locked into a coffin, buried alive?

-What would they do if they set out on a risky mission and all of their crew died except for them?

-If they could only save one, who would they save: their mother, their lover, or their best friend?

3. Write out a dialogue between the characters who you think are too similar

Write out a complete dialogue between all of the characters who you think are too similar, and have them maybe reacting to one of the situations listed above. It should be elaborate, complete with the actions that they do in between or during the actual speaking. Then, when you’re done, take away the names in the speech tags, adding person 1, person 2, person 3, etc. or maybe take away the speech tags altogether

Read it again and think of which characters would say what. If two characters are able to read from almost the same lines (lets say both Jimmy and Billy Bob can read from Person #2′s dialogue) then you might have a problem.

I can’t give you an example because only you know your characters’ personalities and what they would say, just like only I know what my characters would say, but I found that this one was the selling point for me in deciding that one of these characters has to be changed up.

Hope this helped!

I am entirely unsurprised that’s how it went. As I’ve said since the spoilers came out, I fully expected it to be way more than a pass at her and sadly, I was correct.

Oddly, I thought a lot of that was entirely in character for Rob of the past. It was 100% in character and it didn’t feel like I was watching a different character but one from long ago and, in some ways, I can understand that because Aaron has changed Rob, Aaron is Rob’s life line, Aaron gives him hope and family and love and as he said, he fell in love but he feels abandoned and lost and doesn’t recognise this husband and he gave up… so who comes out? Old Rob, the same Rob who sleeps with people because he can, who gets what he wants because he can take it and it passes the time and makes him feel powerful. It’s who he was. So, to me, that was entirely in character.

Hideous to watch but I wasn’t surprised.

I think I’m more disappointed than anything. I’d prepared myself entirely for Rob to sleep with her. I was so sure it would happen. My gut feeling was always that he’d sleep with her or that it would go further. I mean, I guess we don’t know if they do sleep together but what we do know is enough to know that it’s something much more. The history there made it more.

What’s disappointing most for me is the way this really discredits the bisexuality rep the show has done such good work to lay out. That’s where my anger comes from. To have Rob assert more than once that just because he’s bisexual doesn’t mean he’ll cheat then have him say he likes a lot of people and then cheat is unforgivably lazy writing and very disappointing. That is the sole source of my anger.

They’re both breaking vows. Aaron is entirely unrecognisable. He didn’t seem to bat an eye about Liv at all, he was spaced out, dismissive and almost hollow. Rob reverted entirely back to 2015 Rob, the one who goes after stuff because he can and screw the consequences. As much as I don’t like what’s happened to Aaron, I get it and as much as I don’t like what’s happened to Rob, it doesn’t feel like it’s entirely out of his character to do this.

It’s just not the Rob we know now. He changed entirely. His face, his body language, his cynicism, his words… that was the Rob he has suppressed and beaten down for a better life rearing its head. All of this I understand but it really is lazy, crass, quite cruel writing and story telling to go down this route especially to have it be Rebecca and in the Mill. It’s exceptionally gross. If this was well beyond the wedding then fine, but the timing and the need for this is flabbergasting me. I guess I don’t really understand. There’s nothing to come from the addition of cheating to the storyline except for crushing Aaron but do we need more of that?

I told you I felt apathetic and I still do. There’s a little anger there but I don’t feel much if I’m honest but I see so many heartbroken people and the main thing I want to do is send virtual hugs to you. Be kind to each other, my loves. As always, I’m focusing on the stuff that makes me happy about my show.

So I saw Lindsay Ellis’s recent-as-of-late-March-2017 video about Beauty and the Beast (the original film, not the remake) and I took issue with the fact that in the end her biggest criticism of the film was that Belle didn’t really have a story arc - that she begins the narrative essentially self-actualized, knowing herself and what she wants and needs, but that she ends it ditching “adventure” for “love”. I’ve heard this argument before, and while I can’t exactly dispute it (because frankly the film is short and has a large cast and has to cram a lot of things into a relatively tiny runtime) I do think it’s somewhat shortsighted.

According to “Belle (Reprise)”, our heroine wants something pretty simple - she wants “adventure in the great wide somewhere”. But she doesn’t stop there - she immediately makes the jump from merely wanting to leave to wanting someone who understands her. She’s lonely in her small town, not because she hates the people around her but because she feels isolated. She doesn’t conform to either the social expectations of her class or her gender, and she’s ostracized for it - adventure, for her, is a means of escape to a world where she feels valued. (This is all subtext, of course, but BatB is heavy on subtext) “I want so much more than they’ve got planned” is, in my opinion, the most honest line Belle has in any of her songs - her goal isn’t Leave Home And See The World, it’s Be Myself And Be Valued For It Without Being Held To Social Expectations That Hurt Me Because I Can’t Meet Them. And her character arc is about realizing that she doesn’t have to go off someplace far away to get what she wants - her kindness, and her grace, and her personal strength are meaningful anywhere and can make real changes. (I’m reminded of how I used to think that I had to be a She-Ra-esque Strong Independent Warrior Woman, because “fighting” for me was representative of “being valued for who I am”, but that’s essentially beside the point)

Belle and the Beast/Adam are both outcasts - Adam because, well, he spent puberty as a literal giant rage monster, and Belle because she’s noticeably different from her neighbors. And they find one another and bond not out of some expectation that they ought to fall in love but because they respect one another - he values her intellect and her interests, and she sees beyond his emotional extremes. And it’s this relationship that gives them each strength to stick it out - to improve, and to help their communities. The two of them get Gaston out of the picture, which was in my opinion painfully necessary because he was probably the reason no one in town was willing to listen to Maurice, who was quite useful as an innovator and inventor, and they’re able to use what they’ve learned about themselves to better the world they’re living in. By the end of the film neither of them want to run away anymore - they don’t have to. And honestly I think that’s a way more satisfying arc than anyone gives it credit for.

rachel bloom has compared rebecca to a “stone in a pond”, “having a ripple effect” on the people she encounters in west covina. she approaches her crusade for happiness with a vigor that can’t help but shake up the lives of the people around her. usually these changes rebecca indirectly causes in people have little effect on her - see paula’s choice to go to law school, darryl coming to terms with his bisexuality, heather deciding she wants to do something with her life and valencia rejecting the life path she’s carefully cultivated for herself over ten years. josh and greg are the exception to this. rebecca inspires them to make life changes and she ends up worse for wear because of these changes. so where does that leave rebecca? is she the woman who is consumed and invaded and spit out so some fucking man can evolve? 

i’d argue no. i don’t think crazy ex-girlfriend works along those gender lines. the show has a made a point of having josh and rebecca use similar language in their love life (”you love me?” “i love that about you.”) to denote a sameness in their mindsets about romance. some shows treat their female characters as a means for salvation for the male characters (think mon-el) and expect the audience to root for a couple that so blatantly is meant mainly to prop up the man. but in crazy ex-girlfriend, both men and women place their responsibility for their happiness on an idealized love interest. personally, i can’t hate josh after all the shit rebecca’s pulled. 

josh is one of the few main characters (by main characters i mean the characters who are usually main players in the a-story, meaning rebecca, josh, greg and paula) who hasn’t identified something that makes him feel like “glittering is exploding” inside him. the things that make the characters feel like glittering is exploding inside them are the things they use to temporarily distract themselves from their discontent at the expense of their well-being as a whole. when we met josh, he’s in a shitty relationship with a woman who upholds domesticity as the most important thing in a relationship and doesn’t value his happiness and needs outside the context of their relationship. josh was in a rut with valencia and had likely been tempted to cheat on her before (greg laments the fact that every girl he likes has a crush on josh and father brah calls him out on his habit to “run to the nearest pretty girl” which means it’s likely that josh was flirting and encouraging girls even if he never technically strayed from valencia before rebecca). rebecca encouraged josh to break out of this rut by pursuing him in her own desperate attempt to keep that glitter feeling going. josh is drawn to rebecca because he believes that she is the thing that’s missing in his life. he quickly breaks things off with her at the beginning of s2 only to come back to her after anna leaves him. josh remembers how much rebecca adores him and how good that feels and gets back together with her for that instant gratification. he thinks he can keep what they have going by forsaking the leg work of being in a relationship and proposing. on the day of the wedding, he realizes the mistake he’s making and he seeks instant gratification in a different place. father brah describes how he felt “at peace with his decision” to become a priest and josh craves that feeling so he leaves rebecca at the alter for priesthood. josh is in a tailspin. he doesn’t know what he wants from his life, he only knows when he is dissatisfied from it. he lands on the first thing that can distract him from his current woes.

greg is different than josh (and most of the cxg characters) because he knows what he wants that will lead him to fulfillment. his involvement with rebecca allows him to identify his alcoholism (his “glitter” vice) and finally realize that he can break his patterns, to see that he doesn’t have to wallow in his cynicism. rebecca does the classic romcom airport confrontation but in this moment, there’s little romance in it. this is very much a “villain in my own story” moment in which rebecca tries to tempt greg to stay in west covina, which greg considers to be a purgatory. there’s no maliciousness to this on rebecca’s part - she has her own happiness to consider. but so does greg.

and then there’s rebecca “glitter” vice - josh. josh being in this position for rebecca actually prevents her from having a functioning relationship with him. in “a boyband made up of four joshes”, rebecca fantasizes about josh being her boyfriend/therapist but she is fundamentally unable to reveal the ugly sides of herself to him in fear of losing him, and by extension, the glittery feeling. in fact, this issue extends beyond josh. we can forget how guarded rebecca is because she is so shameless in her actions but the reveal of the existence of robert reminds us how deeply internalized she keeps things. we didn’t know about robert. paula didn’t know about robert (and surely paula thought she knew everything about rebecca). naomi lies to josh about who robert is and warns him not to mention robert to rebecca. naomi doesn’t believe communication is important in between rebecca and her soon-to-be-husband; she believes josh has no right to know about rebecca’s past and that he’s more likely to leave if he knows about her. rebecca surely must believe this to be true (not just with josh, but with everyone in her life). and in the end, it isn’t robert that drives an unreparable tear in between josh and rebecca - it’s the lack of communication (and notably, the women in rebecca’s life stay by her side after she shows herself at her most unhinged).

rebecca’s quest for fulfillment runs in contradiction to josh and greg’s. or, more accurately, rebecca thinks at different points that josh and greg have a significant place in her quest for fulfillment when they’re actually obstacles to her self-actualization. but even though josh and greg aren’t the answer rebecca is seeking, their choice to leave her comes with a direct blow to rebecca’s mental state. josh and greg don’t have a responsibility to put rebecca’s happiness ahead of their own but they both leave with little sensitivity to how their actions affect rebecca. greg gleefully waxes poetic about how terrible his relationship with rebecca was to her face. josh leaves rebecca on the alter

tl;dr what i think is great about crazy ex-girlfriend is that each character is equal parts selfish and sympathetic. crazy ex-girlfriend is a MESS of different character motivations and they all implode in on each other. in both rebecca/greg relationship and the rebecca/josh relationship, both parties share blame to escalating the relationship to the breaking point. 

anonymous asked:

What's your opinion on the "threes a crowd" thing? A lot people use that to shoot down many garnet ships. And as pearlnet/jaspnet/jaspearlnet fan, how do you interpret that? (Please don't answer if you don't want to. I'm just a bit curious.)

Oooh man, oh man. That is a can of worms. I think the shortest answer is probably that I don’t think much of the line itself; it’s kind of a throwaway line, and I don’t think one line in one episode should kill anyone’s fun, especially when Garnet is the personification of love. Fandom is all about interpreting the series the way you want to, and shipping is something a lot of people indulge in because it’s fun and sexy and generally enjoyable.

I’m poly, myself, so I do have a bit of trouble with the idea that Garnet—just because she’s the embodiment of a relationship that’s presumably closed—could never find love on her own. It’s just coming past one year of my first actual proper poly relationship, and I couldn’t be happier—and I used to think I was an island, kind of like Garnet. It’s a little bit of a different kind of happiness than I think comes with monogamy (for reference’s sake, boyfriend/wife/I are all involved at once) and I like to explore it with characters I love.

In Love Letters, Garnet brushes Steven and Connie off with a one-liner that they can easily understand. The kids are basically talking over her in the scene. Bottom line is, she’s not interested in Jamie, and really, with her future sight to contend with, why would she want to involve herself with a human? Rose literally just died in the last 15 years.

…But then Pearl echoes the line again in Mr. Greg, and I… find that interesting. Makes me think it’ll come back into play later on.

But anyway, as far as my poly trash shipper heart is concerned: Garnet is not guaranteed to be a reliable narrator, especially not immediately following the start of Season Two. And honestly, I don’t want her to be right all the time. I think that’s boring writing. A lot has happened since then! She’s changed and grown as a person, and opened herself up; Sardonyx Week featured Garnet admitting she needs Pearl, which of course feeds the shipping fires. Post-Friend Ship, Garnet and Pearl eventually fall back into being physically affectionate, and I love that! Their physical affection is what drew me to the ship (and honestly, the show) in the first place.

Of course, Jaspearlnet and Jaspnet are kind of a different matter; Garnet and Jasper have no positive interactions so far in the series. In fact, they really only see each other in The Return and Jailbreak. But I so desperately want to see Garnet have someone who’s physically close to her equal, who challenges her authority, who snipes back and forth with her like True Shounen Rivals. I love the potential for that dynamic, romantic or otherwise—I’m just a total sap for it to turn romantic!

I want Jasper to be happy, and I think both Garnet and Pearl offer interesting dynamics with her—and since I’m a hardcore Pearlnet shipper already, it’s easy for me to throw her into the mix and turn it into a nice happy threesome. Sometimes I debate Ruby and Sapphire’s opinions on that, but honestly, Garnet is her own character, and I much prefer writing her as such. Ruby and Sapphire don’t necessarily have to be involved with Jasper or Pearl for Garnet to fall in love with either of them—but it also doesn’t mean that they couldn’t all be involved at some point later!

I don’t know, I’m just a fan of the dynamics offered. One episode, one line, won’t change that. As far as canon goes, Garnet will probably remain single, because that can be an important message too, but I can dream!

anonymous asked:

Do you think there are any parallels between Catelyn and Cersei?

I think Catelyn and Cersei are two edges of the same sword. They both have very similar story lines. I think the main differences come down to a few details that helped shape them into two different people. Personally I love that because it’s a great character study of how one or two events can completely change a person. It’s a way of playing the AU game without having to go AU.

Both women were the oldest of the siblings and both lost their mothers at a young age. We know that Cersei was very close to her mother, and I would assume that Catelyn was at least somewhat close to her mother. Both were promised to a man that ended up dying in war. Both were mothers to kings, and both watched their first born sons die right in front of them, and they both had daughters sent off to marry a rival family’s son. Both also had a very rocky start to their marriages – Catelyn had to move to a brand new environment and Ned was only with her a couple weeks before he left and returned with a bastard; Robert called out Lyanna’s name while having sex with Cersei on their wedding night.

The main difference comes down to family. House Tully’s words are: Family Duty Honor. And she does tend to follow these rules. When Ned finds out that Robert is going to ask him to be his hand, Catelyn automatically tries to convince him of the choice that will keep everyone alive (it differs from book to show). She goes to King’s Landing to warn Ned, she stays with Robb to try and help him, she let’s the very man that she wants to kill go because her daughter’s lives depend on it. She doesn’t always make the best decisions, but her true intentions lie within trying to get her family back together. They make it clear how she feels about violence in the beginning, but as soon as her son’s life is threatened she wants to do anything to prove a point and show people that they will pay if the Starks are messed with. She goes against her own moral codes when it means saving her children.

I think it also helps that she did have a husband who loved her. We see how he treats her in contrast to how Robert treats Cersei. Sansa thought it was weird when Cersei mentioned to her that Robert wasn’t there when she gave birth to her children, meaning that Ned was there most times. Ned discussed things with Catelyn in a society where a woman’s opinion did not mean very much. His dying thoughts are about Catelyn and where she’s at. There’s a lot of scenes with Ned and Cat together, where as we don’t see too much of Robert and Cersei together when they don’t have to be.

Cersei on the other hand, grew up in a family where her brother got everything she wanted. Tywin makes a remark to Arya that she reminds him of his daughter, thinking all the typical things that girls do is dumb. I don’t by any means think Cersei was neglected, but I do think she grew up watching Jaime get everything she wanted. He got special attention as the oldest son and she didn’t think it fair. As twins they grew up together and did most things together up to a certain age. I think part of that jealousy comes from the fact that she felt as though he were being pulled away from her. Her mom died, she can’t hang out with her brother as much anymore. She essentially wanted to be her brother and be apart of everything he did because he was all she had and she was about to own every part of him that she could.

And while this is going on, her father constantly blamed Tyrion for Joanna’s death. She heard that all the time and it validated her anger towards Tyrion. There wasn’t an emphasis on family. Tywin did care about most of his family, but more than that he cared about the Lannister image. And let’s not forget, Cersei went and talked to a witch that told her her future. She was told at a young age that she would lose everything eventually. She would lose her children, she would lose her position, that someone else is going to come in and take all of that away from her.

All of this is what motives her. She wants that power. She wants to be able to do all the things her arrogant father told her she couldn’t. She wants to be able to do everything Jaime can. And most of all, she wants to defy everything that the witch told her. She wants to prove that she can overcome fate through sheer power and cling onto everything that’s important to her.

I also think it’s worth noting that Catelyn technically lives Cersei’s prophecy. She loses her home, she is in all technicalities, a queen for a small time being. I believe the correct term is queen mother, but a queen nonetheless before her son marries. She loses her husband. She loses her position. She believes that she has lost all of her children (Arya, Bran, and Rickon are claimed dead and at the red wedding she probably figured that Sansa was getting killed that very night, and we all know Robb). And it was all taken away by – The Lannisters, mainly Cersei and Joffrey.

Overall too they share some of the same qualities. They both have displayed a vengeful streak, they’re both very stubborn. They both have tempers, they’re both protective, they can both hold grudges very well. They’re both clingy. Catelyn’s a little more compassionate, a little more impulsive and naive in a sense, she displays more of the caregiver trope and is portrayed as more a tragic character. Cersei’s a little more clever and has a better handle on politics, she’s more about getting what she needs and a little more selfish, and she’s more of a villain.

Gotham EP on Darkness, Light, Ra's al Ghul & Barbara Kean's Evolution
Danny Cannon discusses the arrival of R'as al Ghul to Gotham, the evolution of the Riddler and how Jerome was cast.

“Gotham” executive producer and frequent director Danny Cannon isn’t just the person responsible for the visual look of the stylized pre-superhero series. As one of the show’s’ regular writers, he also has a strong hand in the series’

With “Gotham” returning Monday, April 24 to close out its third season, Cannon joined a small group of press to reveal some of the secrets of the remaining episodes – and to hold tightly onto a few bombshells to be dropped along the way.

On the evolution and endgame of the current season:

Danny Cannon: At the beginning, we had two agendas. We had Bruce Wayne really needing to confront his parents’ death, and where that leads him, and the rabbit hole we went down in the Court of Owls, which plays out completely at the end of the season – and then turns into something else.

Then the other one was Ed Nygma, finally. Right from the pilot to this point, we’ve been adding to him. He’s been evolving gradually, whether it’s wardrobe, hair, makeup, glasses, props — but more than anything, what Cory was really good at doing was body language. You find this man’s confidence, do you know what I mean? And his confidence to say, like so many villains in the DC [Comics] canon, “I shall not be ignored. I shall be brave enough to be more than human.”

I think that’s what the theme of the season was. It was like metamorphosis. Bruce Wayne is metamorphosing into an adult now, and so is Ed Nygma… it’s just Ed Nygma is more psychotic and violent.

On the reveals that Ra’s al Ghul is coming to Gotham:

It’s a shame. We wanted Ra’s to be really a big surprise, because it’s a great intro, but these things get out. But the idea of like, how does the journey with the Court of Owls end? With ancient mysticism. They are such a political party, a Machiavellian, Borgia kind of world, that we wanted to go more mystic, and go back centuries and talk about history and stuff like that – which is the next evolution of our villain; which Ra’s is really good for that.

So that’s where that comes in, and that — really, the end of the season is about, just when you thought you found the bottom of the rabbit hole, just when you know what’s in the shadows, comes guys who live in the shadows.

On possible plans for more Jerome:

Jerome – oh, I don’t know! He didn’t die, though, did he? I just can’t get enough of Cameron [Monaghan].

What happened was, I did an episode — I wanted to do a comedy, except people thought they didn’t think I was funny. But John Wells did, and I said, “I like ‘Shameless.’” He said, do an episode of “Shameless.” I did an episode of “Shameless.” I love that show, and I love that cast — it’s the only episode of something I’ve done where I’ve haven’t written it or done the pilot. I met Cameron on that. I walked in and somebody said that they liked this idea of this character from a circus. I was like, “Dude, I know the guy. I know the guy!”

That’s happened twice on the show for me. Anthony [Carrigan], who plays Victor Zsasz, was the other guy. “I’ve got the guy. We’ve got him.” That’s a nice feeling.

On the rumored evolution of Barbara Kean – possibly into Harley Quinn:

I can’t. I can’t. All I can tell you is, the great thing, the joy of working with Erin is the range. The reason we changed her character, [is] because we knew what she could do. We’re like, “We can’t keep you in one place. You’ve got to keep evolving.” So she’s going to evolve again. That’s all I can tell you.

On walking a tonal line between the dark and macabre and the intentionally humorous:

We all feel like we’re on that line. When you read the scripts, you all feel like you’re on the same page. You all feel like you’re doing that. It’s just a tiny, little shove. When you’re dealing with a world that you want to be real, but it’s an alternative reality, it’s lost in time, any little shove that way or that way takes you – it’s really hard to tread that.

It’s very hard to get writers who completely get that world, directors who get that world, and to get day players who can come in and play the scene with these guys who have really embraced the world as well. Just sometimes, if you have a dark scene with a director who’s dark, and a dark line, in a dark work, just one little tip that way, sometimes in the cutting room we’ve gone, ooh, whoa. It’s weird. It’s like playing in a band, and somebody just plays a riff along with you, they’re playing exactly the same chords, but he plays it like Twiggy in Manson’s band.

I wrote that Mad Hatter episode. It was good to go down that path for a little while, because when you think about what this guy does for a living, it’s creepy as hell. But at the same time, that was definitely in the cutting room going, “Ooh….”

So hence you’ve got, later on, you’ve got him using rhyme a lot more, and being in a different balance. It’s not like a movie where you can spend six months in the cutting room, or six months writing, or two years writing. We write these things, and it’s barely dry, and people are saying it on set. Then the writer walks by the cutting room, and they’re saying his words in a scene, and it’s been cut, and two weeks later it’s on the air. So walking that thin line of what is “Gotham,” it only takes one little shove one way or the other and the tone shifts.

Paypal Commissions *opened*

So I will open commissions here because I need the money. It will be both digitally and Traditionally. I will take payment through Paypal and my mail to pay me with is puppysofua@hotmail.se

If you wanna commission me please send an ask or a private message here on tumblr and tell me this:
~ References!
~ What character you want.
~ In what kind of style. (like if you want a coloredsketch, fullbody, shaded, background, full colored, plus some other details.)

The money goal I got for this is 1000 dollars for reasons. I even do pin commissions! We can talk about the price because it change depending on what you want and how many!

~What I draw~

Sonic ( Fan characters as well )
My little pony
Dragons and other animal/ creatures
I can try new stuffs to so just ask ~
I draw all kinds of couples ~
I do NSFW as well ~

Commission Price


Add character +5 $

Add background +10 $

Line Art:

Add character +8 $

Add background +15 $

Flat colored:

Add character +11 $

Add background +20 $


Add character +16 $

Add background +27 $

Customize Pins:

base price 19 $ + more depending on how many characters on one. + shipping 2 $ depending on how many you buy. 
Ordering them now and the making of the pins will be cheaper! SO ORDER BEFORE THE END OF DECEMBER! 

If you can’t buy one please reblog, it helps a lot <3

My Lip Sync Method

I’ve had some people ask me about how I do my lip syncs, and lately I’ve had some requests over on YouTube for a tutorial/explanation of my method. I’ve been thinking of doing something like this for a while, so here goes an explanation of how I do what I do.

As an example, this is going to be an explanation of how I do videos like Sincerity, Who’s On First, I Like Watching You SleepZelda Williams as Yellow Diamond and Lip Sync Dump. Videos like All Your Base Are Belong To The Diamond Authority and New Steven Universe Leaked Intro With Peridot! contain other editing elements that won’t be covered here.

Without further ado, let’s dive right in.

The first and most important element is choosing your frames. It’s best to choose good clips before you even start grabbing those screenshots. You want shots where the character says a large range of both vowel and consonant sounds that you can match up to your audio. As a general basis, it’s good to have A, I, EE, OH/UR/R, OO, M/B, L, CH/T/K/D and F sounds. There’s some variants but they mostly look like this.

Some variants, like TH, can either be represented by the clenched teeth or have their own dedicated mouth shape.

Some other variants include the main vowels said at different volumes or intensities. These can be really useful when someone holds a sound for a long time, or pronounce some words into broken syllables. For example, “day” as D-AY-EE, or screams “AHHHHH” starting off quietly and getting louder and more frantic.

I haven’t included a very wide range of sounds, and there might be some your audio includes but don’t exist in your visual source. So what gives? Substitution is key. Pretty much, it all comes down to what looks right. If you don’t have F, you can swap it out for the clenched teeth, and if you don’t have OH, you can substitute it with OO. 

Sometimes you can get away with using a very limited range of source frames, but that’s harder to get to look nice. It’s much easier to have a broad range of frames to work with in the first place. If you want to use a specific shot, you might have to put up with working with just a few frames to match all your sounds. Experiment, play around with it, see what looks best. You might have to make some compromises. My process is all about trial and error and just fiddling with things until they work.

As for actually matching the frames to your audio source, this process is all about careful listening and matching the images to the sound. This is what my timeline looks like for Jasper saying “You rocks quit having sex metaphors over there.”

For this, I first of all make sure I’m using my headphones here. No speakers, no cheap earbuds, no neighbours partying next door, to make sure I can pick up on the details. I scrub through the audio frame-by-frame, listening for the subtleties in the speech. Where does a sound end and a new one start?

I break it down into basic sounds, corresponding to what frames I’m working with. “You” is covered by just the OO sound here, as I don’t have anything to work with for the “ya” on its own. There’s no frame to match the R sound, so I sneaked in a TH to break up the movement. Then I move back into into the round mouth for “ock” and clenched teeth for the “s.” Keep matching the frames to the sounds, and before you know it, you’ll have the full phrase down.

Splitting the words into their components ends up looking like this. You’ll notice some of the matches aren’t perfect, and some look a bit off. This is where that substitution thing comes in, and also why you check how everything looks in motion as you go. Something that looks odd alone can make the phrase move more fluidly as a whole.

So, things are looking good, and you want some more movement in there. Time to turn things up a notch. This is where it gets a bit trickier. Let’s start with head movement. Maybe moving up momentarily for emphasis, or turning from one position to another. As an example, I’m talking about stuff like this moment where Yellow Diamond changes her position.

When doing stuff like this, be sure to capture each frame in the movement. When you’re placing them on the timeline, try to match up the lip movements to the sound as much as possible. In a pinch, you might be able to take out one frame that doesn’t fit, and the movement can still look fluid. Most viewers will be none the wiser. Ideally, you want the mouth movements in the the full motion to match the audio perfectly, so choose the point at which you make that change very carefully.

As an ultra bonus, I like to make all my frames in a head movement last for 2 frames each. Having them only hold for one frame generally makes the movement too fast, and if they’re held for a different amount of frames each, it can make the movement stilted or jittery. This can be quite hard to pull off, and I only do it when I’m being especially picky. Sometimes you’ve just gotta play around to make it fit and make some of those compromises.

I’ll also note that you can afford to cheap out a little on the lip movements if you have to. You can skip a vowel or a consonant, and it will (hopefully) slip right by a viewer because of the movement. In that YD clip above, I skipped out on the I sound in “Looking back at you.” There wasn’t anything that would fit in there, so I synced it as if the source had just said “Look back at you.” It keeps that fluid look and slips right by because of the head turn.

Sometimes, movement can be a problem. If there’s moving background objects, like twinkling stars, fire or rolling waves, it can look really nasty and choppy when you play it back. I fix this by doing some masking. I’ll point out that I really don’t like doing masking. It’s my least favourite thing in editing, but sometimes you’ve just gotta do what you gotta do.

The easiest way to cover up nasty choppy movement is with a simple still frame. Let’s go back to Jasper and my project timeline.

The lower layer is my sync work, and the upper layer is a mask to hold those frames still, so they don’t move as she talks. You can also do this with the original clip to maintain the movement of the fire, but since this clip is a lot longer than the original source, doing stuff like that can get too tricky for me to bother with. This is just a simple way to keep everything still and crisp.

Here’s that simple mask in the top layer. A quick and dirty cut to keep the fire holding still while keeping Jasper talking. When you want to keep things moving, it can get more complicated. Let’s move over to Ruby for an example of maintaining motion by using the original source visuals.

See those sweat beads? You don’t want them jumping all over the place, but you also don’t want them to remain static because it takes away from the shot.

As with that Jasper bit, the lower layer is the lip sync, and the upper layer is the mask. The difference here is the mask is a moving piece of footage instead of a still frame. I cut the movement at a place where the last frame of one clip matches up with the first frame of the next, making for a clean loop of that sweating.

The mask here is just her eyes and forehead, so that’s the only part of the footage playing here as not to get into the way of the mouth movements. For this stuff, I always do the lip sync first, and the overlay/masking after. The most important element is still the lip movements. Everything else, while also important, is secondary.

This stuff is the basis for how I do stuff like syncing the eye movements in Sincerity. I don’t have the project file for that one on hand, but I do have the “If You Seek Amy” segment from Hiatus Bomb 3.4, which is pretty much the sequel to Sincerity.

First I did the lip sync, then came syncing up the eye movements. The longer segments of footage are Lapis reading the page, and the shorter ones are her moving her eyes back to the start of the page. Both of these movements are faster than they are in the source footage. I found the parts where each line ended, sped up the footage to match the timing, put in the quick movement back to the start, and repeat for each line. The part at the end there is holding her eyes still for a few frames before the end of the segment, where she looks over at Peridot.

As much as I hate masking, it’s become a basic staple in my lip sync work because of how clean and smooth a little bit of it can make everything flow. These are similar to the techniques I use to make characters blink, move their eyes, change their expressions and move or hold things such as background elements or other characters in a shot.

That’s pretty much all for the basic (and some of the not-so-basic) staples I use in a video. Pretty much, it’s all about timing, listening closely, and making sure every thing moves fluidly and cleanly. If you feel like I missed out any important details, or have any questions, feel free to message me!

13 Reasons Why - Rant

Hello lovelies!

The new netflix series “13 Reasons Why” gets hyped all around the Internet now. I only read postive comments about it and I do agree: it show’s how horrible bullying is, and to some this might help to realize what actions like bullying, rape… and ending friendsships can have an impact on a person’s mental health. Nice actors and interesting story line. You get addicted to the show. But I have something negative to say, because what really bothers me: it doesn’t show viewers of the tv show an other way than suicide when you are in a situation like Hannah (the main character who kills herself). It only shows that the people around her need to change. Aside from that I don’t agree that it’s okay that the people who get a tape and become one of the reasons why she killed herself, get called murders. Also Hannah’s parents get nothing, and they were good people but their daughter has no words for them, she only has words for the people “who killed her”. I’m also afraid it trigers people to kill themselves the same way Hannah did (leaving these tapes & the blame). I’m sharing this opinion with you, because this series was also meant for you to think about it. And so far I only see one opinion and maybe mine helps you to think about this in a different light to. Be kind to each other, but if you are treated horribly please try hard to be heard maybe not from your classmates but from professionals, your parents, or other family. There will always be someone who wants to help you if you let them, there is a other way than suicide. Don’t give up. You’re life matters. 

If you want to exchange opinions about this topic, drop me a message but please don’t send me hate, just because I don’t completely agree with the hype the show gets for being the “best show on netflix”.

xoxo Giulia

Because of Dan’s video on anime recommendations I decided to give Your Lie In April a shot and I couldn’t help but make a parallel. In the show, the main character Kōsei talks about how everything he sees is monotone and boring. It’s presented (in my opinion) as if he is suffering from depression. Then he meets this girl that he absolutely adores and there’s a line that says: “The moment I met you, my life changed. Everything I saw, everything I heard, everything I felt… All the scenery around me started to take on color.”

And I can just imagine Dan and Phil sitting on their couch watching it, and upon hearing this line Dan silently slips his hand into Phil’s. No words are exchanged, and Phil just knows.

Final Fantasy XV, aka ‘Please, Hajime Tabata, Stop It.’

I just spent the last few hours of 2016 finishing FFXV. 

Do I have feelings? You bet. A LOT OF FEELINGS. 


Ah, Final Fantasy XV. Development hell resident. The forever-morphing former member of the Fabula Nova Crystallis collection. Formerly known as Versus XIII. We’ve been through a lot. You gave us all you could, but we all know that you could have given us so much more. 

You had it in you.  

(This is going to be a long one. A LOT of spoilers inside. EDIT: now with MUSIC portion!)

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Opentoonz #1 : Basic Guide

Before you begin, think about the project you’re working on. Is it a video? Is it a .gif you just want to make for an icon or website? What do you want to do?

Animating takes time, discipline, effort and a willingness to learn. Much like anything, it is a commitment and tedious hardwork, even if you’re just doing it for a hobby like I am. As long you are eager, anyone can learn this program! The program is free so take advantage of this opportunity if you can.


1. Resolution
2. Interface
3. Windows
4. Tool Bar
5. Drawing
6. Saving
7. Exporting

Click the cut to continue.

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If the KBTBB MC was in various Fandoms (Doctor Who)
  • (The MC cleans the penthouse as the bidders click through the channels on the TV. The MC hears the Doctor Who theme, but it quickly dies as they click past the BBC)
  • MC: *stops cleaning* "Turn it back."
  • Baba: "Huh?"
  • MC: "Please turn it back. I love that show."
  • Baba: "The one on the BBC?"
  • MC: "Yes."
  • Ota: "Oh geez. Please tell me you're not into that weird Sci-fi stuff."
  • MC: *looks dejected*
  • Baba: "Ota, that's no way to speak to a lady. She can like whatever she wants." *turns it back to the BBC*
  • Soryu: "Who gave HIM the remote?"
  • Mamoru: "Why ya gotta cave like that, Baba!?"
  • (They all watch Doctor Who)
  • Hikaru: "The special effects are...interesting."
  • Eisuke: "That's an understatement. In addition, the writers randomly make exceptions to the rules of the world to allow the characters to bypass impossible situations in which they should die."
  • Hishikura: "Bending their own rules.." *glares at Eisuke* "Sounds like someone I know."
  • Baba: "If you keep watching, you will realize the writers are geniuses. When they make exceptions, it's not a cop out to avoid dealing with character development or change. It's about timing. They wait to eliminate characters until it's necessary. Everything in this show is purposeful."
  • Everyone: *speechless, they all stare at the womanizing thief*
  • Baba: "...I like Doctor Who."
  • Ota: "Why?"
  • Baba: "Because there's something about the Doctor I relate to."
  • MC: "He's a clever thief who ran away, traveling the galaxy doing crazy things, helping people, so he can escape from his past." *looks at Baba* "Sounds like someone I know."
  • Eisuke: "Hishikura, she just used your line to flirt. This gives your previous statement different implications, does it not?"
  • Hishikura: "I hate you."
  • Baba: "And much like the Doctor, I've got my own Impossible Girl." *winks*
  • MC: "Run you clever boy, run."
  • Ota: "I'm going to vomit if you two don't stop with the nerdy googley-eyes."
  • Luke: "Britain -- dominating time travel since 1963."