i have a lot of feels about this character

anonymous asked:

GET THE FUCK OUT OF EVIL REGAL FANDOM! You Hoodies are annoying idiots and all you do is support offensive narratives. You contribute nothing to this fandom. Nobody wants to listen to your whining that your godawful ship is dead. Go away. Move on to another show, character, whatever. You're like a shit stain in this fandom.

“…And I encourage you to support one another. Unity is the most important. Any bullying, or segregation, separation, whatever. Fighting between ships — whatever.  I don’t support any of that. … There’s just no room for it. There’s a lot of other people in the world doing that, let’s not bring it here, please.” – Lana Parrilla (at about the 4:47 mark, if that doesn’t autostart there)


The Queen seems to feel otherwise. But have a nice day.

Not sure how I feel about this movie. From the one trailer I saw, it had potential, but it teetered on the generic side, they’re either going to have to do something different with the “follow your dreams” plot and/or make the characters really likeable. The character designs remind me a lot of How to train your dragon especially with the girl.

but the rendering reminds me of an Overwatch short (which isn’t bad but I’d expect different from a cinematic movie)

My guess is it’s going to play it safe, nothing too special, but it’s not going to be a disaster.

@badcharacterdesign what are your thoughts?

kgtriessohard  asked:

i wannahear your thoughts on the recent state of gaara fanfiction

To be completely honest I haven’t had a lot of time to read fan fiction about Gaara in a really long time, so it’s hard for me to give any sort of feedback that reflects the current trends going around. I feel that as a whole people are doing a pretty good job making content, since I see new fics all the time on here, and that’s something to be glad about. I’m happy that people are inspired enough to practice their writing skills, and their own character development, have it be with OCs or preexisting characters.

I will say that there is always going to be pitfalls when people write any kind of fan fiction, or any work for that matter. Avoiding clichés, Mary Sue’s, or grammatical errors are really hard to do; being creative isn’t easy, but it’s the consistent trying and effort that should be admired. As for something that I cannot stand in fan fiction is people who are in love with the image of the character, then completely reinstalling a new personality for them. It’s a common mistake I see with Gaara especially, but I can understand why. He’s hard to write, especially in challenging situations *cough cough* romance.

Personally, I really enjoyed writing fics for Gaara and filling request, though recently I had taken all of my work down. I do, however, have a small drabble that I was thinking of working on just for fun; which, is what writing fan fiction is all about!

I say that if people continue to be a part of the fandom, and continue to work on their hobbies and having fun, then they aren’t doing wrong. Even if their plots are full of holes, they have Mary Sue’s, and it’s full of cliche, or their pairings are considered crack or it’s a cross over; it’s all a learning experience. I just think it’s nice to see people contributing to the community.

anonymous asked:

How do you feel about crossplay? Have you ever done/would you ever do a male character?

I’m impressed with a lot of great crossplayers but I don’t have that much interest in doing it myself. There are only a few male characters I’d want to portray, but none of them have been compelling enough to make it to the top of my cosplay to-do list so far.

I think my face could look convincingly male with the right makeup, but my figure would be a lot harder to hide. I’m thin with a small chest, but I have unusually wide hips and a large ass. It’s not just extra weight, it’s a distinctly feminine shape. Without significant padding throughout the rest of my body, it would be hard to hide those proportions.

For me, accuracy is a pretty big motivating factor in choosing cosplay. I’m sure it wouldn’t be *impossible* to look accurately male if I really put effort into it. But I still have a long list of female costumes that I’d like to make, so I’m much less inclined to make things harder on myself.

creativeclary  asked:

Yo I'm hard of hearing / deaf and I can't stand to read fics with HoH characters bc they feel so icky and depressing like I want Character A and B kissing in the rain and having to stop so Character A can take out their hearing aids and put them in a bag so they don't get wet ya know cute shit

I don’t mind when the difficulties of disability are depicted, but I feel like a lot of fics with disabled characters are ONLY about either angst or like one character being dependent on the other.    

Yes, I totally agree with that. I’m really pleased you responded because I totally am not qualified to talk about an issue like this, I’m really happy to get opinions from people the disability AUs actually represent.

I feel like with most of these AUs, writers use the disability as a main plot point, focusing the story around the character’s struggle. However I personally feel that the disability should be shown as more of a motivator of the story, and have just a normal plot line for a fanfic.

Like a Solangelo coffee shop AU, where Nico loves sweet lattes, reading horror books, and is HoH. Then the plot is something you’d expect to find in any other coffee shop AU, like the cute barista Will gets his name wrong on his cup on purpose every time, just to get a reaction. Nico being HoH is just another fact about his character that makes him react a certain way.

I hope this is the correct way of viewing things?

deaderrose  asked:

Spectrum: 7: Where did the title come from? 3: What's your favorite line of narration?

7) Where did the title come from?

At the time, I cared more about the story than the title. XD; Wasn’t sure what to call a Blaster fic that I wasn’t entirely certain about. I think I just wanted something that sounded cool, at first. I thought I was going to have a lot of colour as symbolism and stuff, like the CORE or eye colours. And while that did wind up happening, I wasn’t sold on it for a little while.

As the fic went on, though, it started becoming an increasingly appropriate title. A lot of characters go through a bunch of self-conflict, and are trying to reconcile the way they are with what they feel they should be. Opposing ends of the spectrum and trying to meet somewhere in the middle, I guess.

3) What’s your favourite line of narration?

It’s a little difficult for me to pick, considering I generally have pretty fragmented sentences in narration. XD;

With that said, I do like this imagery :

From the darkness glowed two orange, glowing points of light - only several metres before them. There was a huff and the fog swirled aside from the great beast’s breath, revealing a large, skeletal forepaw stepping forward through the mist, landing heavily on the rocky ground.

canonicallysoulmates replied to your post:It’s probably not my place to say anything, cause…

   Wow, I didn’t know the writers had lied to that extend. No offense, but what a mess. She’s such a cutie, and she looks so excited in those gifs, you can tell she really loves this character.   

The writers are horrible when it comes to Katie Cassidy/Dinah Laurel Lance. They’ve made it blatantly obvious that they couldn’t care less about her or her fans. They promised this big death in season 4 without planning out who it was and when they couldn’t figure out who to kill they decided to just kill off her legacy comic book character. For absolutely no reason except shock value. And they told her about it before she had to go do a fan convention and I remember watching an interview where she said that day was so hard for her because she just found out and then had to go answer all these fan questions about who she thought was in the grave and she almost started crying because it was her. Then they had her sign a contract to come back to be a regular across all the DC shows after the fans got angry but they haven’t used her at all. She only had 3 episodes on Arrow (and one of those was just a one scene flashback) and I guess she’ll have one scene on Legends of Tomorrow and so far no news on The Flash and since the filming for the season is going to be wrapping up soon it’s not looking likely. And the fact that they thought it was a good idea to bring in another character named Dinah baffles me. That’s just adding insult to injury and basically says she’s replaceable. Katie Cassidy deserved better after devoting 5 years of her life to this character, doing the comic book research, training constantly to physically change her body for the role and also changing her hair. The writer did recently mention that he has another idea for her and wants to talk to Katie about a new contract so we’ll see. I don’t trust them but I want to believe that there’s still hope they’ll bring her back and treat her right. I can dream lol.

luca-highstrider replied to your post “Okay real talk here. I see a lot of AU fanfic around with characters…”

I feel the same way. I’m HoH and constantly losing more and more of my hearing, and I hate reading angsty deaf fics, esp if the person developed deafness or w/e.

I’m happy that you agree with me, since I have little knowledge on the subject. I can’t help but feel like this is important to talk about though, since the people these AUs are actually representing feel uncomfortable reading them. Thank you for sharing with me!

rogue one “everyone lives” au:
  • chirrut teaching luke about jedi lore and philosophy while baze and han roll their eyes and pound space beers in the background
  • bodhi’s face when leia awards him a medal for bravery

  • cassian and han hating each other until they are forced to tag-team in a cantina brawl

  • k-2so and r2d2 making c3po’s life hell

  • jyn joining the pathfinders under kes’s command

  • cassian and shara bey co-infiltrating imperial facilities

  • baze and chewbacca playing dejarik against one another (because everyone else was too afraid)

  • luke and bodhi bonding over flying junkers

  • jyn telling leia about the time she met bail organa

  • lando introducing chirrut to gambling on bespin (”oh, did i win again” “you have to be cheating” “all is as the force wills it”)

  • chirrut and baze helping leia with her grief over alderaan

  • k-2so also being accepted as a deity among the ewoks (the devil)

  • the members of rogue one watching the destruction of the death star from the med bay
  • what she says: i'm fine
  • what she means: why do people hate ron weasley for having such human reactions? why can't they understand he was raised in near poverty and didn't feel like he had any special talents compared to his brothers? it's like people want realistic characters until they're presented with one. it would have been so boring if ron didn't have jealousy and doubt and faltering confidence. he could've been written off as a one-dimensional best friend character but that's not how life works. so many people can identify with ron, he adds a different level to the friendship that creates tension but also makes the golden trio way more meaningful because through all the crap they go through they are always together in the end. how on earth would a perfect, unrealistic ron be any better? and i'm not even done sit down we have at least 500 more pages to go, janice pull up a chair it's going to be a long night

i have like. a lot to say about why sherlock failed as t.v. show bc i think as a writer it’s a really crucial study in how to ruin a good premise/beginning and tbh if not to just … study how not to handle characters it’s pretty fascinating bc there are some truths which i feel it’s necessary to point out:

  • nobody likes to feel cheated at the end of the story.
  • death only matters if it’s forever and it’s rare.
  • on that note, there should be consequences for actions.
  • trust your characters to be interesting without unnecessary drama.
  • throwing plot at your characters feels less real than having their desires make them walk fully into the glass door of plot
  • if you’re going to make one of your characters “a sociopath” or disabled with ptsd or any other mental or physical illness, do extensive research into the personal experiences of those who suffer it and handle it with gravitas; don’t just vanish a character’s disability because it’s inconvenient to have them use a cane etc.
  • when there’s a good plot twist with nice foreshadowing, the audience loves it. when there’s just always plot twists, the author loves plot twists more than his own story.
  • surprise isn’t always a good thing.
  • “it was all a dream/joke/mirage/spell” is literally the weakest form of writing yourself out of a corner and is incredibly annoying to read/watch
  • queerbaiting is ugly
  • ride rollercoasters, not a broken elevator. have some stretches between plunges. your story can speed ahead and stay interesting without diving into hell again. 
  • having a Big Bad Evil doesn’t make the story interesting; in fact having “monster of the week” problems feels more authentic and enjoyable 
  • write your women like people and let them have plots that have nothing to do with men.
  • just because you’re good doesn’t mean that you are above critique or getting better. you should always be challenging yourself to outdo your previous self, not resting on the laurels of a previously effective moment
  • characters don’t have to be overpowered to be interesting 
  • if a character’s emotions all exist on a scale of 1-10, 10 being the most emotion that an emotion can be (the saddest/angriest/broodiest), do not let that character hit a 10 until you are ready to be done with them forever 
  • when you are done with them forever, be done
  • what she says: I'm fine
  • what she means: i can't believe people actually ship nancy with jonathan, because that completely goes against what the writers are trying to do. they set up your basic trope: good girl is trying to be #edgy and is dating your stereotypical "bad boy", and then this "nice guy" comes along and pays attention to her. listen, jonathan is great and all, but i don't trust pretentious creeps that like to take pictures of girls making out with their boyfriends in privacy without anyone's permission. jonathan also tried to put nancy in this box. "you were trying to be someone else." the writers totally destroyed the idea of nancy simply being that straight A student that wants to rebel. she's not dating steve, or drinking, or shooting guns because she thinks she's being "different". she's doing those things because THAT'S WHO SHE IS. you can get straight A's and want to do well in school while also partying and dating a hunk. speaking of the hunk, steve is actually wayyy better for her than jonathan (i mean i'd be happy if nancy decided not to be with anyone but let's be real i'm a total stevexnancy person) and here's why: he paid attention to her, like really noticed things about her. he didn't make fun of who she was in a condescending way, and he also supports her. like, yes, he's problematic in that he has shitty friends and horrible parents (from what we've heard) and while his initial decisions are rude and selfish, he becomes self-aware and tries to make it up to people. i.e., going to jonathan's to try and apologize and buying him a new camera, or coming to nancy to tell her he confessed to the police even though it got him in trouble, or telling his friends where to stick it and then going to help wash off the graffiti. in short, jonathan romanticized this version of nancy that wasn't really all of who she was and people paint him to be this great guy (would you trust a guy that took pictures of you without you knowing, and then only feeling guilty once you found out?) and steve is this beautiful work in progress that wants to understand how nancy works as a person. so basically the fact that the writers didn't leave nancy with jonathan means that they destroyed that basic story line where the "nice girl" leaves the "bad boy" for the "nice guy" and they did it in the best way possible without completely bashing any one character and i just really love this show.
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Favourite Acting Scenes – Isak and Even meet in the schoolyard (9.10 part 4)

Also known as that post in which I make use of my English lit degree to overanalyse everything.

So here it comes: the scene, in which everything is laid bare and has been episodes in the making. You get the script, but as far as you can see, there is only one line for one of you. That means that the rest of the scene hinges upon you, the actor, your eyes, your body movements, your energy. Throughout the series, you’ve had moments in which moments of quietness were needed, but none as long as this one. To really make it work, it’s all about you and your fellow actor. As mentioned in @softnorwegianslovely post  the trust has been established: you know what you’re both comfortable with and what you can do without breaking the scene. You can challenge each other, and you have each other’s back; so you can make this as intense as possible. We as an audience have to keep in mind; it could be that the music was played during the filming of this scene, but it’s not the only sound they would’ve heard. 

So how is it possible that this scene feels so particularly intense, even when you disregard the music? I think that one of the reasons that makes you feel it so deeply is because of its use of the five senses in order to focus on feeling. Feeling that you’re not alone is so different from knowing that you’re not alone.

Regardless of whether Even was really going to take that final step or not, Isak is scared out of his mind after receiving that text message. As a person who has the tendency to assume the worst, as evidenced by his inability to see that people aren’t always mad at him for stuff he does, for Isak to see that bench to be empty has to be the most horrible feeling in the world. You feel that his heart just sinks right into his stomach; until he remembers Even’s ridiculous towel dispenser flirting move – maybe he’s to be found there. And then, as if the stars aligned for just that moment, Even is there.

The tiniest hint of a smile is found in Tarjei’s mouth and eyes, and he makes the relief feel tangible; Even is shocked into a motionless state, his depression clearly has taken a heavy toll on him with his red-rimmed eyes. But still, they walk towards each other. Both in different mind-sets; Even terrified and maybe unable to comprehend what’s going to happen here, while Isak is slowly taking in the fact that Even’s still here. They keep looking at each other.

Now, the first time I saw this scene I was confused as to what Isak was doing here; he’s not kissing his cheeks but seems to be ‘nosing’ them. But rewatching it a few times, one edit with regular street sounds in particular, made me realise that Isak slowly wants to make sure that Even physically and emotionally feels that he’s not alone. And even for himself, this is the case: Isak needs to feel Even is there, he isn’t gone yet again, he’s right there. We need to see this in close-up.

So first are touch and smell; cheeks upon cheeks, noses upon noses as they are so fond of doing. Can you feel me, Even? How close we are to each other? There’s no space between us. And when he’s sure Even feels him – because Even leans into him in small increments, brushing his nose ever so slowly over his cheek – then he moves on to touch and sight and hearing. His hands make sure Even looks up, into his eyes. Can you see me, Even? I’m still here. See me here so close to you.

And then he mentions a few of the most wonderful words you can hear in this universe and all the parallel ones.

You’re not alone.

What a beautiful reaction from Henrik here: he listens, takes it in, and closes his eyes as if it’s too good to be true. Ever so slowly, they move on to touch and taste. Isak takes the initiative, kisses Even very carefully and only twice. I’d like to kiss you so much more. If you’ll let me. But that’s all they need for this moment. Then there’s the eye contact again; Isak already almost falling against Even, seeing his face and those wonderful eyes again. Until now they’ve only given the barest touches to each other, but now that’s not enough anymore.

Tarjei and Henrik’s amazing chemistry, trust and ability to show the feelings and emotions behind this scene without saying anything made this such a special scene. Lesser actors would not have been able to convey such intensity in a scene without dialogue.

So Isak envelops Even into his arms, and Even reaches around him to tightly hug him back. And isn’t that one of the most wonderful feelings in the world? When you’re completely surrounded by someone’s smell, and touch them by taking them in your arms, and hear their breath pushing out in relief? Now you not only know you’re not alone, but you can actually feel it.

What a Helga Natt indeed.

Previous parts: here.

Tips on Writing Characters Without Faces

so yeah, we all know that facial expressions can tell us a lot about how a character is feeling, but what if that isn’t an option? how can you make someone emote if they don’t really have standard facial features? the answer; body language.

let’s consider how emotions are conveyed on a stage production vs movie with Sweeney Todd. First, the stage play:

Note how Todd’s entire upper body goes into his gestures, how he’s single-mindedly focused on his dreams and ideals; how his hands GRAB for each imaginary ‘man’ with these sharp, aggressive, destructive movements and how that contrasts with Mrs. Lovett’s body language; how her hands linger in the air and gravitate towards Todd even after he’s pulled away, and the slow turn she gives him. It does an excellent, though exaggerated, way of conveying their relationship (her focus is on him and making him happy, his focus is entirely on revenge)

Contrast this to the movie:

Originally posted by curiousitykilledthekat

Same lines in the song, much more subtle. Lovett’s eyes still track towards Todds, which reminds us she’s still more focused on the outside, but all of the emotion is in their faces. Were this not a close-up shot in a movie it’d be very, very hard to read their expressions.

While I do recommend you watch a few stage plays (in person near the back row if you can) to actually study body language for yourself or try out charades with your face covered with friends/watch how cosplayers or mascots emote, here’s a few shorthands to get you started (US-centric so expressions may vary on your region):

Head:

  • perfectly still - fear, intense attention, feeling under scrutiny
  • tilted up - recollection, intimidation (looking down nose at threat, aiming to appear taller)
  • tilted down - intense thought, shame (avoiding eye contact), depression/sad feelings
  • turned away - not giving person full attention, avoiding subject/conflict without being combative
  • cocker-spaniel (sideways) tilt - confusion, curiosity, amusement

Hands

  • at the forehead - fatigue (wiping away sweat), illness (checking self for fever, feeling a headache), realization/memory (a ‘well duh’ tap)
  • at the eyes - fatigue or headache (shielding eyes from light), distress (blocking out a painful view, concealing tears)
  • at the nose - disgust (a pinch at the nostrils,) irritation (rubbing at sore spot on nose from glasses wear)
  • at the mouth - nausea, surprise, repressing an emotion/stopping self from saying something
  • at the chin - contemplation, tiredness (face resting in hand)
  • rubbing back of neck - a need to relax tension, embarrassment, slight unease/desire to distract self
  • at the chest - surprise, self-protection (reaction to a wounding statement, sometimes used sarcastically), strong emotions (clutching at heart, could be good-strong or bad-strong), need for security (touching necklace/adjusting clothing to conceal more)
  • at the stomach - pain (clutching, pressing), satisfaction after a meal, protectiveness towards fetus when applicable
  • at the hip(s) - confidence, intimidation, nervousness (if grabbing for weapon)
  • at groin - concealment/unease (usually male-coded as protection of genitals), politeness (hands folded in lap)
  • on thighs - exhaustion (bent over, hands on legs supporting tired upper body)
  • formed into fists - holding back an intense emotion, preparing to fight
  • toying with something - restlessness (bored, nervous energy, craving something they can’t touch) or deliberate disrespect of property (playing with personal objects someone holds dear as an intimidation tactic)

Arms

  • at sides, relaxed - default posture
  • at sides, tense - unease, restraint (soldier at attention, person holding still to avoid being attacked), fear
  • crossed at chest - disapproval, displaying authority, unease (hugging oneself)
  • crossed at stomach - pain, intense laughter (caused by sore stomach muscles from laughing)
  • up, fingers laced behind head - confidence, relaxation
  • one arm on back of furniture - confidence, invitation for someone join them
  • general rule - the further arms are away from body, the more confident/dominant a person means to appear; exposed torso indicates that they don’t see anyone around as a threat to them

Legs

  • square with shoulders - professional, restraint, protective stance
  • wide stance, one foot a little back but planted - defensive stance, expecting to receive blows (knees may be unlocked - seen in swordplay and fencing)
  • weight on one leg - relaxed, tired, may also be leaning on something or pair with one ankle tucked behind the other
  • uneven stance - could indicate old injury
  • foot tapping/bouncing - boredom, nervous energy

Whole Body:

  • stiff and still - fear, unease, standing to attention
  • limp or pliant - relaxed, tired, pleased
  • shoulders back/head up - alert, focused, aggressive
  • shoulders forward, hunched - tired, ashamed
  • leaning towards person - interest, intimidation (looming over them), aggression (usually paired with tense arms or hands in fists,)
  • leaning away from person - relaxation, confidence, disgust (recoiling)
  • smooth/fluid movements - joy, confidence, experience
  • stiff motions - fear (reactive, fight or flight), pain (reluctance to move), anger (either fighting to keep control of emotions or lashing out), cold (conservation of heat by keeping limbs near body)
  • cracking joints/stretching - preparing for a fight, often reading as confidence in abilities
  • general rule - close contact/proximity can read as intimidation (paired with tense body - an invasion of personal space) or affection (paired with relaxaed body language, gentle movement) or passion/attraction while distance can read unease/distaste/fear/dislike.

with those in mind, let’s read this scene from Red vs Blue (a personal fav of mine for body language) featuring agent texas from season 8.

Originally posted by cryingmanlytears

So first of all, very relaxed upper body; limp arms held away from the body, which slowly come back to rest on her hips as she looks at what she’s done. Watch how her lean shifts at the end as her center of gravity shifts, and how she has to move her right leg to restabilize herself when she’s finished pushing it. This reads, in order from the start of the loop; detachment (the least amount of her body is involved in the action as possible), relaxation (smooth movements, the deliberation of those little steps backwards) and confidence (hands on hips.) We can tell a ton about this character just in this gif alone, based on her body language.

in summary! this list isn’t exhaustive, but hopefully it gives you some ideas for ways of making characters emote in fics when you can’t see their faces.

what she says: i love freeze your brain

what she means: If you look at Freeze Your Brain at face value, you could easily interperet it as simply about JD’s fixation on 7/11 and his issues oversharing. But it’s really more about a place that feels normal and familiar and safe in a frightening and new situation. It’s easy to overlook this, as a lot of the song is made to be comedic. Take the lines “When mom was alive/we lived halfway normal./Now it’s just me and my dad,/we’re less formal” for example. During the musical, it’s easy to focus more on Veronica freaking out than on JD’s words and their meaning. This is done intentionally, as if to show that JD hides how hurt he is about his mother’s death with other emotions, as many people do. Towards the end, it is shown that JD uses slushies to control a possible self-harm habit and self-destructive thoughts, and that’s when the gravity of the song hits you. Despite sounding light-hearted, Freeze Your Brain is about a teenager trying to hold onto the one place that makes him feel safe and happy no matter where he is. If you consider the possibility that his mother introduced him to 7/11, it’s also about trying to recapture childhood emotions, despite the fact that so many things have changed.

basic things you should know about your main characters
  • how is their relationship with their family
  • what are their beliefs, if they have any
  • what is their motivation (preferably something unrelated to their love interest/romantic feelings, bc people care about other things, too, kthx)
  • who were they raised to be vs. who they became/are becoming
  • what are their plans for the future, if they have any
  • how do they feel about themselves and how it affects their behaviour (i mean. you can’t tell me a character is shy then have them do things shy people wouldn’t do, like?????)
  • how do they feel about things they cannot control? 
  • and last but not least: 
  • WHY IS THIS CHARACTER THE PROTAGONIST
  • LBR DO THEY EVEN MATTER
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Fun fact: The debt he’s referring to here happened between chapters 310-311. It took him over 200 chapters to repay his debt and he never once forgot about it this whole time.