i have no idea who created this but it is fantastic

Yes, I do teach creative writing: your opening scene

The opening scene is the most important piece of your novel. This scene determines whether your reader is pulled in or puts the book down. Here are some important do’s and don’ts.

DO write it as a scene, not a data dump. You may have a fantastic premise, a marvelous alternate history or post-apocalyptic world or magical realism to die for, but if you don’t engage your reader in an actual scene, you will bore them.

DO write a scene that immediately introduces a character that the reader can root for. Yes, I know Stephen King has had great success introducing victims that are then shortly afterward killed off. That’s a horror trope and we expect it. But if you are caught up in world-building and haven’t dreamed your way into a character who is worth following through 100,000 words of writing, your story is pointless. I have read many pieces of fiction by would-be writers who can’t grasp this essential concept, and without exception, they fail to engage the reader.

DO introduce the stakes right away. In case that’s a challenge that needs some exposition to develop, create some immediate stakes (a life threat works) that keep the tension high and the reader engaged until you can lay out the larger stakes.

DO begin in medias res, which means “in the middle of things.” Most beginning fiction writers make the mistake of starting too early in the plot. Meet the monster on page 1. 

DON’T include a flashback in the first chapter. Work on a scene, which means time is NOT compressed. It should include dialog, action, description, setting, and interior monolog. Keep everything happening within that scene for at least the first chapter. You can bring in a flashback in Chapter Three.

DON’T shift points of view within a single chapter. Let the reader establish a strong bond of interest (even if it’s with a POV villain) over the course of a whole chapter.

DON’T open the story with your character waking up unless it’s because she’s got a gun in her face (or a knife to her throat – you get what I mean). We don’t need to follow a character through their mundane daily routine. 

DON’T be coy. Beginning writers often have this idea that they need to hold back on revealing all their secrets – what’s in the box, who’s behind the curtain, where they’re going next, etc. Their well-meant plan is to slowly reveal all this over several chapters. Trust me on this one: tell your readers instead of keeping it a mystery. You WILL come up with more secrets to reveal. Your imagination is that good. Spill it now, and allow that revelation to add to the excitement.

Y’all I Think I Got Sonic Forces Figured Out

Okay so I know we are all over the moon about the trailers and game play videos that we have gotten these past few days, but I honestly think that we have been glaring over a pretty CRUCIAL detail from the classic sonic game play video 

Think about what we have heard from the Sega Officials, this is not a Sonic Generations sequel. But how can this be if classic sonic is in the game? How are Sonic’s past enemies here alive and ready to fight? How is it not akin to generations if classic Sonic is alive and here?

But what is he isn’t?

What if this classic sonic isn’t the one from generations at all? But instead, from another dimension? Now I suppose Dr. Eggman may just be referring ro another state of time, but I don’t think the connection stops there. For the most obvious question, how in the WORLD did Eggman take over the world without Sonic to stop him? Its the focus of the game but H O W? In colors, generations and lost world. sonic had made stabs at Eggman claiming “Its like its his job to stop him” because, well? It is. Eggman knows this. He knows it far too well. In generations he went back in time to try to right his wrongs, to redo his errors and end Sonic but time and time again it didn’t happen. So what if Dr.Eggman instead decided to look beyond his world, to another dimension, with another Eggman? But why stop there? Why not bring forth a dimension where Sonic failed? Not only that, but a universe where Chaos destroyed Station Square. A world where Metal Sonic won the race on Starlight Speedway. A world where Shadow never helped to defeat the bio-lizard. A world where the deadly six drained the world of its life? This would explain why Shadow has suddenly switched over to the dark side, why Metal Sonic is still functional, why Zavok is alive and why Chaos is in his earlier forms before he became perfect chaos. 

 Of course, like the Time Eater, Eggman wouldn’t be able to do this on his own, as we have seen with our new villain: 

Now as menacing as he appears, these cubes are so….out of place. It’s strange on why he has all these cubes, and why the trailer makes them look as dramatic as it can. Showing our new villain SURROUNDED by them and then ending the trailer with him hurling them at you. It’s odd. So what are they if the cubes are so important? Well to put it simply,

They’re different dimensions 

Whoever this guy is, he is in control of countless dimensions, more than enough to combine and design a whole new terrible reality. A whole new HORRIFIC dimension, where Sonic has failed, and Eggman reigns supreme. What is the name of this devious villain?

INFINITE 

As in..Infinite worlds?

The clues are right in front of us, and all we had to do was pay attention. The trailer certainly wants to get the point across

Now, I may be jumping the gun on this one, with my head of fan fiction type ideals, and perhaps this new villain will just be connected to whoever you create as your own character, (either it be an evil twin or something like that) but who would want to do this? Who would want to bring total destruction onto a world full of peaceful people? Who would want to see the world burn and fall apart right before their eyes because of their wrong doings? Who would want to see people of the resistance fail hopelessly, desperate to save their once beautiful world? Who would want to team up with Eggman to decimate the world? Who hates Sonic so much that he would want nothing more than to force him to watch as his legacy, friends,home,universe fall apart? WHO IS INFINITE? Well I may be wrong, but there’s only one person who can and will

From the timeline that was erased. From the universe you reversed in Sonic 06. From the world you fought so hard to save and redo, rewriting reality so you could get the happy ending. 

Now, its his turn 

On a side note, Sonic Team knows that sonic 06 was a disaster, and make reference to it in the Sonic story episode in Lego Dimensions. Pretty coincidental or foreshadowing? Some other things we can consider as well could be that in 2012 we first heard rumors of a Sonic game called “Sonic Dimensions” The rumor said that we would be traveling to other universes with different color Sonics that had their own personality. My personal favorite, is a promise of a boss fight of an evil Amy Rose, wishing for Sonic’s pain rather than love. Now the rumor as we know now is false and was debunked and this could very well be a coincidence. However, this rumor broke out in 2012, a year or so after Generations and 1 year before Lost world released in 2013. I think we can safely say that Lost world was at the very least in early stages of production during or sometime after Generations especially with its ambitious game play style. It would have taken more than 2 years to make, with the game play style and everything else. This means, Sonic Forces could had possibly be in the early stages of development a little before Lost World, playing on the idea of different universes.I think it’s also possible that Sonic Forces may had been delayed at some point because of Sonic Boom’s games and tv show, since its not being advertised at the 25th anniversary game. Also is a pleasant time to remember that this happened:

Due to Gravity Falls’s more dark story telling, I think its safe to assume that Alex had some kind of influence on Sonic Forces’s story. Either way, 

We are in for a long deserved fantastic Sonic Game my friends. 

Destiel, Bi!Dean and preparing the audience for a “shocker”.

I just did a re-watch of 12x10 and it really got me thinking again about Benjamin and Cas’s talk in the car with the boys about Benjamin and his female vessel.

At the time the episode aired, I think I was so excited about the prospect of Cas being in a female vessel, and how this could potentially shift a heteronormative audiences perception of Dean and Cas that I didn’t realise just what else they were trying to do.

This is about reassurance.

This is the conversation that was had in the car:

CAS: Benjamin is always very careful. Long ago, he found a powerfully devout vessel in Madrid, and her faith, it… she gave him everything – her trust and her body.

DEAN: Wait. So Benjamin’s a woman?

CAS: Benjamin is an angel. His vessel is a woman. But it – it’s – it’s more than that. She’s not just his vessel.

Just this small exchange is important as exposition for the audience. It is about preparing the audience for what is coming up. The idea that Cas was also once ‘a woman’. Which, okay, no he wasn’t a woman, he just had a female vessel, but imagine how that would have gone down had this exchange not taken place? Imagine how a general audience would have reacted to Cas and his female vessel had Benjamin just been another angel in a male vessel?

Probably a lot like the way Dean acted here, with confusion.

By giving us the Benjamin character and this particular scene as well, the writer has successfully prepared the audience for Cas in his female vessel. Preventing raised eyebrows and confusion because the audience will remember this conversation and apply it to Cas.

“Castiel is an angel, his vessel WAS a woman. His vessel is now a man, Cas is still a dude and it’s not weird. Cool beans.”

(when I think of a general audience watching SPN lets just say that I certainly don’t think of the fandom or tumblr. I think of my brother and that is something I won’t get into here. Heteronormative doesn’t even begin to cover it.)

The fact is, making one of your three main lead male characters a woman for an episode is a weird thing to do, the kind of thing that would probably make some audience members uncomfortable. So adding in this exposition, this reassurance, removes that level of discomfort, it gets them used to the idea first, like a buffer.

See for a show like SPN, whilst its always been a bit weird with its story lines, it’s never been all that progressive. As much as we would all like to wish that all SPN viewers were like us – liberal forward thinking people who are willing and eager for TV to break a few taboos – the chances are that is very much not the case. Its an old show, it has an established audience (apparently a bipartisan audience amazingly) and therefore breaking boundaries the way more modern shows have (such as American Gods, How to Get Away with Murder and Orange is the New Black) just isn’t really in the cards. Those shows established the taboo stories, the queer main characters, the representation, from the start. They built their audience on those foundations. SPN can’t do that without isolating part of its audience – unless it thinks very carefully as to how it may present such notions.

I hope I am explaining this in a way that makes sense. See this is of course about Bi!Dean and Destiel (as if anything on my blog WASN’T about those topics). Because here’s the thing. On any other, newer show, for Dean to come out as bisexual, for two male lead characters to enter into a homosexual relationship, it wouldn’t be a big deal. Those shows could build their audience around those concepts, because they would be ingrained into the show from the start.

For Supernatural, that sadly isn’t the case. SPN didn’t clearly establish Dean as Bisexual early on, and Destiel isn’t canon, it has always been the subject to interpretation with just enough ‘no homo’ so that anyone who chooses not to see it doesn’t have to (again, excluding 12x19 but we’ll get there)

One of the biggest hurdles to getting bi!dean and canon destiel, is for the SPN creators to overcome this fear that half their audience would reject them if they actually went there. It would be seen as coming ‘out of the blue’ and all those heteronormative people would raise their eyebrows and moan and be utterly confused by it.

That’s why Supernatural needs the buffers. It needs the gradual exposition, the subtle desensitisation of a general audience to anything even mildly “progressive”. If Supernatural wasn’t putting these buffers in place already, I would think we would have a problem. I would be much more apprehensive at even the idea that destiel could be a thing that is actually happening.

What is so fantastic, is that just like in 12x10 with the fem!Cas buffer that was Benjamin, we have already been getting buffers all throughout the last few seasons.

Here are some of my favourites:

  • Jesse x Cesar – 11x19 – These guys are my absolute favourite, they were created specifically to show the audience that you can be a gay man and also a macho man. That gay men aren’t stereotypes, that hunters can be gay and settle down and especially that gay romance doesn’t change the theme of the story. The big take away from this episode is that it shows the general audience that men like Dean Winchester can be gay/bisexual.
  • Hannah – 10x17 – This was a real eye opener for any Cas x Hannah shippers. Because Cas didn’t treat Hannah any different, and he had exactly the same warmth and affection for Hannah in her male vessel that he did in her female vessel. Basically this was a nice punch in the face for any homophobes watching. SPN doesn’t care about your heteronormative ships. You wanna ship Hannah x Cas? Fine! But Hannah’s in a dudes body now and guess what? Cas doesn’t care! How do you feel about THAT?
  • God is Bisexual – 11x20 – This was just a nice big fuck you to homophobes everywhere. Don’t like queer characters? This is NOT the show for you! Because in our world even GOD is queer! Yay for LGBT representation! It works as a buffer because once again it is sending a message to the general audience that this is the kind of thing you can expect on our show. We are changed now.
  • Dean rides Larry – 12x11 – Okay so maybe it’s not an obvious buffer, but it is kind of a subliminal message so I’m counting it. Dean riding that damn bull was the most sexual scene we have had on this show in seasons (and no that god awful thing that happened in 12x02 doesn’t count – nor does the same god awful thing from 12x08). The jokes alone, the sexual innuendos. This entire episode is loaded with subliminal messages basically screaming at the general audience to maybe just consider the fact that Dean likes guys.
  • 12x06/12x20 – Max Banes – like Jesse and Cesar Max works as a buffer because he is another way to get the general audience used to the idea that characters that are similar to Dean Winchester can be queer and it’s no big deal. Max is badass, funny, smart and charming and also 100% canonically queer (whether gay or bi we know textually that he is totally into dudes). Sam and Dean don’t bat an eyelid at his sexuality, so neither should the audience. It is just one part of his character and certainly not what his story is all about. Max is proof that you can have a queer character who is a badass and a hunter whose story is basically nothing to do with their sexuality. Their sexuality just happens to be a part of who they are.
  • And finally – Destiel – season 12 – I’m making this its own buffer because honestly? There is no way to view Dean and Cas’s relationship as non-romantic at this point. I think that the writers have slowly been turning up the dial on Destiel probably since 11x18. 12x19 really drummed it in for us though. The angel/human love themes of 12x10, the textual “I love you” in 12x12, the MIXTAPE and everything else about 12x19. This is all preparation. It is indeed a build up to a reveal. Destiel is it’s own buffer and even if people do still accuse it of ‘coming out of nowhere’ once it goes canon, all the writers have to do is gesture at season 12 and the fucking mixtape scene and say to those people “in what universe does the gifting of a mixtape between people who are not explicitly related NOT have romantic connotations?” Only a fool would argue with that if they had any knowledge of pop culture history. Sorry, but that’s the truth.

Anyway, that’s my thoughts on that. A show with a long established audience about to make a move that could potentially appear (but not really) out of left field would need to build up that move through a series of well thought out buffers, symbols, themes and subliminal messages before actually making it.

Like how Benjamin was the writers way of normalising Cas’s female vessel, the past two seasons have been a journey to normalise bi!dean and destiel in preparation for making both of these things explicitly canon. Yes we still have a way to go - it still needs to be stated explicitly in the text that Dean is into guys, in love with Cas bla bla bla, but we are getting there.

In summary. Destiel is endgame. Dean is bisexual. The general audience better learn to throw their heteronormative goggles in the bin because this is the state of this show right now, and it is good. 

A Killer First Chapter

Anonymous asked:

Do you have any advise on how to open a story? I have all my characters and my plot and my conflict and everything but I don’t know how to start. How to keep a reader hooked and interested enough to keep going.

This is a little ironic, because I’m about to rewrite my opening three chapters for The Warlord’s Contact from scratch for about the tenth time. But practice does make perfect, and boy have I learned a lot through this process.

Sometimes you look at a story and you just know how it needs to open. It’s the most obvious choice in the world, and it’s clear why no other option would work.

Unfortunately, that’s not often the case. Usually, the beginning to your book will take preplanning and rewriting and replanning and bit more rewriting, and all the while you’ll never quite be sure you chose the best spot to open to, or the right characters to introduce, or the proper setting. 

Here are a few specific methods of thought for tackling your first chapter…

Keep reading

The Three Waves of Discworld

So I’ve been thinking for a while about the Discworld books, and how they can be divided up into three rough thematic phases; not based around the focal characters, but rather what the story is about.

The first wave, which begins with The Colour of Magic and I would say ends with Guards, Guards! or Faust Eric. These books are parodies of existing fantasy, and thematically spend a lot of time exploring the conventions of these stories, both mocking them and codifying them as fact for the Disc. We get a lot of witches and Rincewind books here.

Having set up the status quo, the stage is then set for the second wave to enter, starting with Moving Pictures. This is when Pratchett starts to branch out in terms out his parodies, and moves from fantasy parodies to other areas of society and culture, from the movies in Moving Pictures to shopping centres in that weird Reaper Man subplot, to guns in Men at Arms. Notably, all of these are based around external forces disrupting the status quo, and having to be set right. My favourite example of this is probably Jingo, where the external force disappears by itself when the island sinks back into the sea. Hogfather, Carpe Jugulum and Thief of Time all fit into this wave, which has kind of a fuzzy boundary with the third wave. 

Fantasy has always, as an overall genre, had a problem with the idea of growth and change. The idea of “Setting right what went wrong” and protecting the existing status quo has always been a major element in a lot of fantasy stories. “Restoring the true king” is a popular one which is lampooned by the character of Captain Carrot, but Discworld itself has, up to around 1996, had a problem with this itself (notably, the point of the Carrot subplot in Men at Arms is that he is the true king but delibrately chooses not to reveal himself in order to defend the status quo) Its plots, while often having some changes for individual characters, rarely allowed the setting itself to change, and the change that occurs is put right by the end.

The first book to sort of challenge this is probably the fantastic Feet of Clay, one of my favourites, where the role of the Golems is examined and by the end, the concept of a Golem owning itself is introduced. This is a major change for golems in the setting, but it isn’t really played with much here. The two books that really kick off the third wave come, fittingly, at the turn of the Millenium; 1999′s The Fifth Elephant, which examines dwarf politics, and the 25th Discworld novel, 2000′s The Truth, which is the first time we really see a persistant technological change in the setting. The newspaper set up by de Worde is a major factor in all the later books, and notably it is the protagonist of The Truth that is trying to disrupt the status quo with the creation of the newspaper. It isn’t films or rock music, which are eldritch abominations that must be stopped, but an organic and important change in the setting. This is the main theme of the third wave: the Disc is changed and shaped in lasting ways by the actions of the main characters, particularly on the wider social level. Cherry Littlebottom helps to change dwarf gender norms, goblins and orcs are introduced to society at large (admittedly in rather easy ways), and the biggest change of all is the introduction of everyone’s favourite conman, Moist Von Lipwig, who progressively creates or helps create the postal system, paper currency, and the first train network. In the Tiffany Aching books, we see both changes in the social structure that were made far earlier and then ignored (the female wizard Eskarina Smith in I shall Wear Midnight), and a double whammy in the death of Granny Weatherwax and appointment of Gregory as the new witch for her old area in The Shepard’s Crown. In the three waves, we go from stasis, to active defence of the status quo, to challenging and changing it.

Obviously this isn’t a perfect model. While I think the switch between waves one and two is fairly clear, as I noted above waves two and three are far more fuzzy in their boundary. Most notably, while I said that The Truth was the first major wave three book, between it and Monstrous Regiment and Going Postal, we have the second wave’s last hurrah; Nightwatch

Nightwatch is entirely build around the idea that nothing changes. Carcer’s actions threaten to change history, and Vimes has to put it back, while on the other side of the thematic coin, the revolution that the past characters, including young Vimes, are fighting for explicitly just results in more of the same, putting Mad Lord Snapchase in charge.

Except that…even here, we know that this is not true. Vetinari is in charge of Ankh Morpork in the modern day. Vimes has risen through the ranks to become the commander of the watch and a lord himself, a far cry from his humble, improvished beginnings.

The world will change, and sometimes those changes must be fought, but often we need to fight for those changes ourselves.

anonymous asked:

Omg ??// those time travel fics are so good ??/ would you happen to have more recommendations?

Hi! I have gotten so many requests to update my list, but there are so many I’m just going to make a whole ’nother list! You can find my first list here!


Time Travel AU (Part 2)


Standard Deviations by JustBeHappy, Teen, 82k
Victor knew something was wrong when he woke up. Firstly, Yuuri wasn’t by his side in bed. Secondly, the wallpapers weren’t supposed to be blue. LOVE!

News Travels Fast by TheSecretUchiha, Gen, 1.3k
In which time travel happened but there is no mention of time travel and Viktor and Yuuri like to surprise people, especially reporters. THIS IS SO GOOD

Turn Back the Clock by IronScript, Teen, 52k (WIP)
When Yuuri and Viktor wake up over thirty years in the past, they don’t know what to do. Does the other remember? Luckily that particular question is quickly answered and they can relax slightly, but what about afterwards? Viktor was brought back to right before his first Olympics, and Yuuri isn’t even old enough to compete in Seniors’! Great fic!

The Switch by BoredPerson69, Teen, 5.3k
The Switch was a true mystery to science. Nobody knew how or why it happened, it just did. Soulmate AU!

Katsuki Yuuri Solemnly Swears That Time-Travel/Alternate Universe Bullshit Did Not Happen With The Intent to Piss Off Yuri Plisetsky by Eldestmiddle, Teen, 20k (WIP)
When Yuuri wakes up, a sweet-faced twelve-year-old, he bursts into tears and his mother calls him in sick to school. He spends a day in bed, crying and pinching himself until he can really believe that he’s really doing all this over again. Then he starts laughing because he’s really doing all this over again. It feels like it should be easier but when he tallies up, the losses are almost too much to bear. WOW!

Maelstrom by feelslikefire, Explicit, 43k
Victor Nikiforov is poised to win gold in his fifth consecutive Grand Prix Final. He has the world at his feet, is unparalleled in the sport–right up until a snowstorm blows into Sochi, and he finds himself repeating the same day over and over and over. He stumbles over Yuuri Katsuki, and everything changes. Time loop AU! One of my all-time favourite fics!

And I Will Try to Fix You by Dawn on ICE (Dawn_Blossom), Teen, 19k
16 year old Victor Nikiforov may be lonely, but he isn’t sure how getting thrust into the future to live with his older self and his older self’s fiancé is going to help anything. Oh, and the 16 year old version of his older self’s fiancé is there, too. Thumbs up!

of whispering lights and empty ice rinks by nauti, Gen, 12k
One would think that everything would calm down after Yuuri won the Onsen on Ice event. It was supposed to be his year; he was going to be training with his long time idol turned coach and he was back in Japan with his family. Everything was looking up for Katsuki Yuuri. That is, until a stranger that looks exactly like him, but older appears in the middle of the rink after a bright flash of light. SUCH a great fic!

counterclockwise by viktyuuri (Empress_Arisu), Teen, 4.9k (WIP)
Life after retirement, Yuuri thinks, is quite a nice change of pace. Although, not so much when he finds himself thrust back into the past. In which married husbands Viktor and Yuuri somehow end up 5 years in the past without knowing how or why. I love Victor in this asjhdlsjflk

Those Second Thoughts You Asked For by akisazame, Teen, 7.1k
The first time Victor skips backwards in time, he is fourteen years old. Highly recommend!

a great desire to love by lily_winterwood, Teen, 21k
For some strange, inexplicable, fantastic reason, Yuuri Katsuki and Viktor Nikiforov are trading places.  THE GREATEST Kimi no Na wa AU!!!!

it’s not a side effect of the champagne, i am thinking it must be love by lostincostco, Teen, 2.5k
Somehow, Yuuri gets the distinct feeling he’s being punished for something. LOL I LOVE THIS

Future Self by fishydip, Gen, 5.2k
Soulmates AU where one day, at random you wake up in your own body, except in the future after you have already met and fallen in love with your soulmate. you get a random amount of time to spend as your future self to learn more about them. Another great soulmate/time travel AU!

Stammi Vicino by Mairieux, Teen, 2.5k
Katsuki Yuuri, unable to sleep due to being wracked with nerves and anxiety, finally passes out in his hotel room the night before his first grand prix final. And when he wakes up? He has no idea why he’s suddenly sleeping so close to a mop of silver hair. So cute!

A Minute or a Year by I_have_problems, Teen, 8.7k (WIP)
One minute Yuuri and Viktor are enjoying their offseason while planning their wedding the next both of them are thrown three years into the past and are left to find one another again. Angsty but worth it!!

Tiger Stripes and Smartphones by vivi1138, Teen, 24k
In the glorious year 2004, the famous Victor Nikiforov owns a Nokia3510 and is very proud to be the only one at school who got rid of his monochrome mobile phone. So, where is his precious device when he wakes up in an unfamiliar room and finds an expensive smartphone filled with pictures of someone who looks exactly like him… but older? Rec’d by a follower!


The gif was created by @omgdango !

Humans Are Weird

It is well established among all sentient species that Humans are Weird. Exceptional Humans, however, make the regular humans seem almost tame in comparison.
Yatrov was to show the newest crew member- another Human- “the ropes”, as Human Jenny phrased it.
Upon arriving, however, the newest Human barely spared xir even a glance, which was odd, seeing how Humans prize interaction above all else. Shrugging it off, xe delicately held out a clawed hand to engage in the Human positive-meeting greeting, a “hand-shake” it was aptly named. “I am known as Yatrov, in Human Common tongue. I am sorry to say that I was unable to read your file report, and am thus left without your name. What is it you wish to be called?” Yatrov was genuinely sorry; the ship was in dire need of repairs, and this Human was coming to help.
Instead of taking the proffered hand, the human’s brown eyes stared into xi’s own violet. “I am Giovanni. And you are approximately 7 minutes late. I do not fault you for your tardiness, your job is a busy one, so your apologies are void. I do not need to see the entirety of this ship, I only require the engine room. Take me there and I will begin repairs immediately. Social niceties and other such meaningless things can be done at a later date, if done they must be at all.”
Yatrov felt somewhat slighted; xe’s species did not greet with touch, but it was seen as an insult- a social misdemeanor- to deny the shaking of hands. Attributing it to the Human having been under circumstances that made him “cranky” and to the fact that the Human was excited to work- humans forgot norms when excited, xe had found- Yatrov continued to try to create a pack-bond with this Human, “I have heard many great things about you.”
“Truly?” The Human considered this for a moment, head tilting, “I am merely faster than most, mentally. A marathoner or racer is not spoken of in as high-esteem as those with quick mental facilities are, are they?” The Human was speaking out loud, xe found this practice odd and ignored it. “What exactly have you heard?” The Human tapped their legs with their fingers, adopting a rhythm unknown to xir, and hummed. 
Arrogance or curiosity? “Admittedly, not much has been told. I know that you have several thesis papers, have repaired and improved upon numerous ships, and that you were good enough that our captain was surprised that you even bothered to consider joining our crew.”
“Huh.” And that was that. Giovanni did not speak after that, made no effort to communicate. Giovanni did not try to obtain physical contact. Giovanni remained aloof with even Human crewmates long after he had joined. He also remained fidgety, seemingly unable to keep still, unless it was to engage in a staring contest with the resident cat- to keep the Humans from adopting a weird, deadly creature- or to continue his single-minded work with machinery.
Three weeks after he had joined, the ship was attacked. Vernians boarded the ship, using their many appendages to apprehend multiple members of The Highlight- the ship- at once. No one knew where Giovanni was, and no one would have been surprised if he had left to save his own hide.
Which was precisely why everyone, who were all bound and trying to negotiate with what was essentially pirates, was surprised when Giovanni came around the corner, a knocked out Vernian held under gun point.
Guns pointed at him, Vernians shifted to attack him. “What you need to know: firstly, I have hacked into your language processors. All Vernae will sound like gibberish.” He paused, then grinned ferally. “Try”, he dared.
“Kir-ah?!” They did, and did not seem pleased with the results.
“Back! Restore!” the voices of Vernians screeched, their language translators on the fritz. 
“Secondly,” he paused, “I will shoot your friend if you do not release my own.” When an uproar of shouting started again, he blandly stated, “Blank point will be quite messy, won’t it?” He hummed, as though in thought, though his eyes trailed after every movement the Vernians made.
A smaller one, likely emotionally closer to the Vernian Giovanni was holding captive,  pounced.
ZZZZZT-PA! The Vernian howled, two of its 11 “arms” gone. “My threat is not idle.”
The room quieted, members of the Highlighter slowly being released.
“Thirdly.” His lips pursed, his nose tilted, sneer deadly, “Run, and pray that I never see you again!” He shot a wall, and they scattered, leaving the crew of The Highlighter mostly unscathed.
It was hours later, after the chaos was settled and the ship fixed up again, that Yatrov approached Giovanni.
“Why did you save us?”
Giovanni scrunched his thick eyebrows together, “Why ever would I not?”
“You make no attempt to communicate with us.” Yatrov insisted, trying to discover the reason Giovanni would do something without some sort of gain.
“Oh, that.” He dismissively waved his hand, his face again lax and bored. “I do not see the point in wasting words. I enjoy the presence of the crew, and- while I see no point in engaging in it- their idle chatter is amusing to listen to.” He raised an eyebrow, “Why do you ask?”
“The crew operated under the belief that you disliked us.” Yatrov felt a small bit of shame; clearly, Yatrov had been wrong to assume that all Humans were so similar.
“I-” He looked hurt, eyes filling with water- tears, they were called, and Yatrov knew that this was not a good sign. His lips twitched, his words near whispered, “Did you not consider me a friend? I thought we were.” He had begun nervously threading his fingers, humming lightly.
“I thought you disliked me.” Yatrov’s admission only increased xir’s guilt, and the slight tremors of the Humans smaller body.
“I made you and the others a new computer.” Giovanni’s eyes searched Yatrov’s one, and again found no solace. A computer did not equate to friendship. “I *made* you and the others a new computer.” The emphasis hit Yatrov. Why would one handmake something if the person receiving it did not matter to them.
“I am sorry.” Yatrov paused, xe had seen it in a Human film once, maybe…? “Can we start over?” A small nod eased Yatrov’s mind and reaffirmed xir’s decision. “I am the one known as Yatrov, and I enjoy reading: fiction, typically.” Xe did not hold out his hand, but stared Giovanni right in the eye.
The smirk on Giovanni’s face told xir that the actions- or lack there of- was not missed. “I am known as Giovanni.” He held out his hand, looking smug and slightly proud of remembering this, as their hands clasped, he said, “I enjoy sandwhiches, science, and conversations on how realistic or achievable a work of fiction can be. It will be a pleasure to work with you.”

Humans were odd, but exceptional Humans lived by a very different set of rules. Intelligence changed their perceptions. Yatrov knew, from personal experience, that they were still Human, still fantastic and horrifying, at their core. Yatrov put down the book xe was reading, looking up to watch Giovanni’s animated expressions as he ranted about machinery. Yes, truly, Humans are Weird.


(Please excuse any grammar/spelling mistakes, my hand has been cramping up lately and it is hard to write at the moment. And I should not be writing sci-fi, because it is NOT my forte, but I had a plot-bunny and felt the need to attempt it. This is basically a shortened version of what I wanted to write, skipping over much of what I actually wanted to put down. Feel free to take the general idea and write something better XD )

9

I was lucky enough to attend the Pacific Rim: Uprising NYCC panel at Madison Square Garden (and sat in the first row ayyy~~) and took a bunch of notes lol. The panel included the director Steven S. DeKnight, and a few members of the main cast including John Boyega, Cailee Spaeny, Scott Eastwood, and Burn Gorman. Here’s my recap:

General Worldbuilding Tidbits

  • Pacific Rim: Uprising is set 10 years in the future after the last film. DeKnight said that they wanted to show a “new generation of Jaeger pilots who have known nothing but chaos.”
  • Previous characters slated to return, as seen by the trailer, include Mako Mori (Rinko Kikuchi), Dr. Hermann Gottlieb (Burn Gorman), and Dr. Newt Geiszler (Charlie Day).
  • The new main “trio” seems to consists of the main lead, Jake Pentecost, and the late son of Stacker Pentecost (John Boyega), Jake’s best friend and Jaeger pilot Nate Lambert (Scott Eastwood), and tech-savvy Amara Namani (Cailee Spaeny). 
  • 10 years later, the Pan-Pacific Defense Corps (PPDC) has come together to work as an international fighting force, with all of humanity working together - i.e. Jaegers are no longer coded by specific country, like the Russian Jaegers, Australian Jaegers, etc. 
  • This also allowed the opportunity to build Jaegers from the ground up, since they were all previously destroyed in the first film. It was jokingly claimed, “we cancelled the apocalypse and then un-cancelled it to make this movie.”
  • DeKnight discussed how  Del Toro originally set the table with Pacific Rim as a “fantastic visual feast,” so the goal with the sequel was to honor the original, but also expand the universe at the same time. 
  • John Boyega claimed that they weren’t trying to “rewrite what Guillermo Del Toro did, but rather to build upon and expand this universe, and where the humans are at now.”
  • Boyega also talked about how he came onto work behind-the-scenes creatively on the film as a producer. He described Pacific Rim as one of the only franchises he’s come across where the fans are hopeful and “sacred science fiction ground." 
  • Going in, Boyega felt like he had the same creative passion as DeKnight. When they met in LA for the first time, they went over the specific Jaegers and basically what Boyega wanted to see after Pacific Rim. He claimed that "I believe this is everything you want Pacific Rim to be." 
  • One of the goals of Pacific Rim: Uprising is to explain exactly what happened 10 years after the first film, but not necessarily be a complete detachment to the origin story. It was highlighted that there are a lot of young teenage characters in the cast and hopefully that’ll be something that new viewers can relate to. 
  • According to DeKnight, one of the overarching themes of Pacific Rim is: "It doesn’t matter who your parents are, the color of your skin, your religion, or sexual orientation, you can make a difference and be a hero. It’s the human inside the Jaegers that makes you super." 
  • Pacific Rim: Uprising was filmed both in Australia and China. The cast pretty much agreed that as a director, DeKnight runs a "relaxed” and “creative” set - it was a tough schedule, but the actors all felt that they could still have creative input.

New Jaegers

  • DeKnight called them all “badass,” with Gipysy Avenger leading the charge.
  1. Gipsy Avenger: Has a lot of upgrades, including a Gravity Sling which allows the Jaeger to reach out and grab buildings, cars, etc. and hurl them directly at the Kaiju.
  2. Bracer Phoenix: This is the brute force Jaeger. One of its special abilities, above many, is the fact that it’s a three-pilot machine. Therefore, the third pilot can drop into the chamber and operate a pair of massive guns called the Vortex Cannon.
  3. Saber Athena: This is the most advanced Jaeger in the fleet that uses Plasma swords. Also described as a “little experimental,”  and “incredibly swift.”
  4. Titan Redeemer: Has a special weapon called the “ball of death,” which is attached to the end of his arm. According to DeKnight, this was “pretty damn cool." 
  5. Guardian Bravo: Is another brute force Jaeger that has a special weapon called the "graphine arc whip." 
  6. Scrapper: Described as a "little guy,” that’s been slapped together. Since in the future, there are a lot of people pilfering and stealing PPCD technology to make their own Jaegers. 
  • During the Q&A, an audience member asked if all the new Jeagers run on analog. DeKnight claimed one Jaeger is built on sticks (lmao), but the general idea is that no EM-powered Kaijus will be able to take down the Jaegers in this film.

Jake Pentecost (John Boyega)

  • Boyega stated that he “loved the first movie and one of the reasons was Idris Elba.” So, he understood the big shoes that he had to fill. Boyega claimed he understood this responsibility, but  "we [the cast] all worked as a unit, and Jake Pentecost doesn’t exist without the other characters. This is also a great ensemble piece.“
  • When the moderator asked if Jake is trying to live up to Sacker’s legacy, Boyega jokingly claimed: "Hell no!” He went to explain that “the greatest heroes don’t accept legendary status. It takes a tussle and a turn and for Jake’s position. Where we find Jake in the beginning of the film is in very different circumstances from his Dad.”
  • Boyega described Jake as a “stealer, a hustler, and lives in half a mansion. He’s really a guy that doesn’t want to live up to the Pentecost name.”
  • Jake is bought back into the PPCD in a very unique way through his connection to Cailee Spaeny’s character Amara. So, Jake is bought into this adventure and decides that he’s gotta “step up,” after realizing that the “Pentecost name still means something to people." 
  • During the Q&A, an audience member asked Boyega what’s the most rewarding part of being a sci-fi icon. He claimed that he doesn’t feel like one, but working on both Pacific: Rim Uprising has been exciting, since it’s allowed him to jump into various elements of sci-fi that he loved growing up.

Nate Lambert (Scott Eastwood)

  • Eastwood described him as a Jaeger pilot who’s one of the best out there. Yet, he’s still "the tip of the spear,” and really nothing without his best friend Jake.
  • Jake and Nate still have issues in this movie to work out from the past, so Eastwood felt that coming back around and dealing with a lost time with these characters was something cool to explore as an actor. 
  • Eastwood also emphasized that while yes, there is plenty of action in the film, it “has a great story first and foremost.”

Amara Namani (Cailee Spaeny)

  • This was Spaeny’s first film that she was ever cast for. So, she was definitely intimidated and a bit terrified, but knew that fans were so supportive of the first film. 
  • Spaeny didn’t actually watch Pacific Rim until she got the audition for the sequel, and really took it upon herself to dive into the universe in order to understand and respect the original film.  
  • In terms of Spaeny’s film experience, there was also diving into tons of stunts and action and lots of skills that she to catch onto , since she was participating in a whole world that’s already been created. 
  • But Spaeny felt that both DeKnight and the cast were very supportive and helpful, whenever she had questions, so it was really easy for her to dive into Cailee’s character. She also bonded with DeKnight since this was the first feature-length, theatrical film that he ever directed. 
  • Spaeny described Amara as very “independent,” and super “badass.” She’s also a tech-savvy person. 
  • For Amara’s backstory, her entire family was killed in the first wave of Kaiju attacks. So, Amara really “takes it upon herself to dive into Jaeger tech and make sure that when Kaiju do come back, she’ll be ready to fight and protect herself." 
  • While Amara’s past is very different from Jake’s, Spaeny claimed that both of them still see a lot of things in similar ways.  

Dr. Hermann Gottlieb (Burn Gorman)

  • Gorman said he was very excited to be back in the sequel, which felt like "being back in the playground.” He also joked, "I’ve been lucky enough with this face that God gave me to play a few jerks on screen,” when an audience member briefly highlighted his past roles on Torchwood, Revenge, Game of Thrones, and The Dark Knight Rises. 
  • Gottlieb still has problems with personal hygiene. Gorman claimed, “let’s just say that he hasn’t changed his socks since the last film." 
  • In comparison to Charlie Day’s character (Dr. Newt Geiszler) who has moved onto the private sector, Gottlieb chose to stay behind with the PPCD and arguably their most important scientist at the highest level at this point. So, Gorman joked that Gottlieb now, in effect, has a "really great budget,” to work with now. 
  • However, DeKnight makes it clear that where we find Gottlieb is: “as a man still very much affected in what happened in the previous film in terms of his drift and communication with the Kaiju.

There was a brief Q&A and the last question really stuck out to me, where an audience member asked each cast member to sum up their Pacific: Rim Uprising experience in one word:

  • John Boyega: Unity
  • Cailee Spaeny: Life-Changing
  • Scott Eastwood: International
  • Steve S. DeKnight: Mind-blowing
5

July’s Featured Game: SLARPG

DEVELOPER(S): Bobby “ponett” Schroeder
ENGINE: RPGMaker VX Ace 
GENRE: RPG, Fantasy
SUMMARY: SLARPG is a short, turn-based RPG following the story of Melody Amaranth, a kindhearted but meek transgender fox who’s decided to learn healing magic and become a paladin. She’s joined by her adventurous girlfriend Allison, as well as their friends Claire (a sarcastic, rule-bending witch)(she is also trans) and Jodie (a dependable, somewhat motherly knight). Over the course of the story, our inexperienced heroes will meddle with forces beyond their control and find themselves responsible for the fate of their quaint little hometown. They’ll also fight some spherical frogs, travel to a forgotten land in the sky, befriend a robot or two, and anger the local librarian. But that should go without saying. 

Our Interview With The Dev Team Below The Cut!

Keep reading

The clever references from the start of last night’s Rick and Morty

The first thing you may have noticed is a certain skinny, tall, dark haired figure chasing Rick and Morty through a staircase room… 

That character was based on Morpheus AKA Dream of The Endless, otherwise known as The Sandman.  He is the protagonist from Neil Gaiman’s multi-award winning comic book series The Sandman.


Originally published by DC, Sandman started in late 1988 and was later published by Vertigo (which is owned by DC) Sandman tells the life story of Morpheus, the ruler of the dimension of both Dreams and Nightmares.     

The most recent installment of this cult classic comic book series was a prequel that was compiled just last year into the graphic novel called Sandman: Overture.  Sandman: Overture won a 2016 Hugo Award and had imagery very similar to what was in the opening of last night’s Rick and Morty.



Morpheus has certain distinct physical characteristics.  He has thick, wild dark hair and chalk white (or grey) skin.  He is extremely skinny and tall.  He usually wears a black cloak or long black jacket.  At his neck he often used to wear a  “Dreamstone” amulet (originally a ruby though Dream’s newest incarnation wears an emerald).  His eyes are entirely black except for tiny star-like pupils that can flare when he’s emotional. 

All of these distinctive traits can be found in the very character who made his brief appearance last night in the opening of Rick and Morty.  

The second thing to note is the room Rick and Morty were in.  It probably looked familiar to you. 

That staircase room has appeared in TV and movies for decades, from Jim Henson’s Labyrinth (1986) to Syfy’s Warehouse 13.   That room is called The Escher Room and it is based on a famous optical illusion by M. C. Escher.

 I strongly suspect the choosing of The Escher Room and it’s crumbling at the start of last night’s Rick and Morty was a deliberate nod to the 1986 fantasy film, Jim Henson’s Labyrinth.

You will notice that The Goblin King, Jareth (Davie Bowie’s character in that picture above) bears a certain physical similarity to Morpheus.  Many fans noticed this.  I have been told that Neil Gaiman is big fan of both Labyrinth and David Bowie.  He even originally modeled his Lucifer Morningstar (who now has a TV series on Fox and first appeared in the Sandman comics) after David Bowie.

Many fans have noted that Morpheus looks like a photo negative of Jareth from Labyrinth.  Observe.


Like Morpheus, Jareth also rules his own fantastical dimension where reality bends to his will.  

The fact that Morpheus is essentially “Emo Jareth “ (to quote a friend of mine) makes it easy to understand why the familiar visual of the Escher Room was chosen as it was destroyed at the end of the Rick and Morty scene, much like the version shown in the film Labyrinth crumbled around Sarah (the film’s protagonist). 

Combining Morpheus with Jareth is an excellent and easy to understand idea much like when the Rick and Morty writers noticed the similarities between Ray Bradbury’s Something Wicked This Way Comes and Stephen King’s Needful Things and they merged Mr. Dark (From Something Wicked This way Comes) with the antagonist of Needful Things to create “Mr. Needful” for the episode Something Ricked This Way Comes for season one. 

And for anyone wondering, Ray Bradbury’s Something Wicked This way Comes was published before Stephen King’s Needful Things and even had a film adaptation before Needful Things did as well, though the plots were very similar. 

The biggest difference was Something Wicked This way Comes dealt with a sinister carnival that offered you your heart’s desires at a terrible price and Needful Things had the antique shop like in the Rick and Morty episode.  Mr. Dark was the ringmaster of the carnival in Something Wicked This Way Comes.

(A physical comparison of Mr. Dark and Rick and Morty’s Mr. Needful below in images).


As the new “Sandman-esque” cameo character was not named and has none of Jareth’s physical traits but does have all of Morpheus’ physical traits he is named Morpheus in my head unless the show decides to have him appear again later and properly names the spoof character.

PS, I would kill for a Scary Terry vs. Morpheus event of some kind.  There’s fan art of Freddy Krueger vs. Morpheus, which I won’t post here because I don’t have permission from the artists who made them but it can be easily googled.


1D Rebranding and Eventual Reunion: GP vs. Fandom Perception

So I’m seeing a lot of tension an unrest over the way that the members of 1D, Harry in particular, are distancing themselves from the band as they embark upon their solo careers (ie, Harry, or whatever intern runs Harry’s sm scrubbing his twitter clean of 1D mentions). I know people are anxious about this, and I understand that anxiety, but I want to offer a different perspective: I think this could be a good thing, not just for their solo ventures, but for 1D as a whole. Hear me out on this one, long windily and under the cut. 

Keep reading

Well…. I’m crying.

No I’m sobbing.

Why?

Well, I’m sobbing because of art.

And the art that caused me to be in this pitiful is none other than ‘Spring Day’ by BTS.

Originally posted by chyogi

'Spring Day’ is easily my favourite comeback so far.

After all, it is the most honest, sincere and beautiful piece they have released.

The song is just so pure, so heart wrenching. The production is fantastic and their voices….

Originally posted by zutterv

Many people say that BTS does not have good vocalists because they cannot hit a lot of super high notes. True, if a voice has all the falsettos in the world in is nothing without emotion. And emotion is something that BTS can deliver not to 100 % but rather to an infinite amount. Their voices carry pain, longing and sincerity.

Originally posted by luvably

Now why am I mentioning sincerity so many times? Well, an artist without having sincerity is a writer with no pen or paper or any method of writing. Sincerity is essential, it is what captures the attention of the listener because it allows the reader to be able to relate. Even if the listener cannot relate he or she might want to retry to understand.

Originally posted by chyogi

Spring Day achieves just that. After all, the song is honest and so is BTS. These are emotions all feel. These are the emotions that remind us that we too are humans.

Originally posted by jengkook

And the music video, of the music video fits so well! The MV creates the feeling that this is not simply an MV, but rather is a coming of age movie, meant to showcase, pain, longing, confusion but also hope.

Originally posted by myjaebutt

Originally posted by joeguk

The shots of the, passing each other, only to at some points get together feel so sad, so painful and interestingly beaver when they are together for me, although there is a lighter feeling it still feels like something is still missing for them. Because they still keep running and they indeed are cut of by the train carrying Jungkook himself.

Originally posted by lostinbangtan

Originally posted by vernontine

Originally posted by vernontine

But at least they are together. At least they no longer have to suffer alone but can share the burdens that they have. They are each others ‘light’

Originally posted by certifiedtaehyung

The MV also allows for so much interpretation from the first watch.

One might take them as a random choice. However, the clothes could also mean that they have let their old selves go. They could mean the they feel worthless, like they can be  called ‘dirty’ at any moment and discarded. Or they could mean that they have washed there ‘stains’, their pain.

Originally posted by helendrv

The scenes at the staircase and at the carousel when they seem unable to find each other can be seen as painful as them losing each other.

Originally posted by taeijin

Originally posted by luhan-vevo

Or it could be that they still haven’t found the others yet. 

Originally posted by jungkook-gifs

Maybe, there are all in front each other…Maybe they haven’t looked properly.

Originally posted by sugajoo


The train with Kookie that passes BTS could mean that Jungkook is leaving the past behind…

Originally posted by cherry-jimin

Or he could simply be going forward, not yet knowing of the people he will get to meet, the same people who are in the same compartment as him.

Originally posted by cherryblossoms-and-cupcakes

And the shoes that hand from the tree… are they can mean death, the murder of their own selves.

Originally posted by minsugago

But they could also mean that BTS has exchanged their pain for appreciating and loving themselves. Because they are no longer alone. No, this time they have each other. And so they are letting their old selves die in hopes for a better future them to be born.

Originally posted by bangbangbangtanx

Originally posted by jjkook

And more interpretations can be made. They just depend on how people feel at the moments and what they want to believe. I like the idea that they simply search for each other, but that proves difficult at first cause they do not know exactly whom they are searching for. I like to believe that this MV is a look, a battle for the future. But I also love reading others interpretations.

Originally posted by parkjiminer

And that is what this song and music video.

So thank you BTS, for once again getting out of you comfort zone and creating this masterpiece.

Thank you for bringing us all together.

Thank you for creating powerful music that speaks to all.

But also there are other people that deserve to be thanked.

Originally posted by changkyuh

People who sit silently and work endlessly to make this happen. Thank you to all the staff and the crew. Thank you to all those who helped make this happen, whether you are the MV director, or the person bringing the brush to the make up people.Because these people are too a huge reason why we have these MVs.

Thank you to all those that help with the creation of the songs.

Thank you to all whom advertise these boys, to all whom support them.

And thank you to my fellow ARMYs, who no matter what shit we get from others, continue to support these boys.

BTS has released one of their most beautiful works yet.

Originally posted by cutiepiebts

So lets support them!

ARMY loves you BTS… I love you BTS!

Thank you for reading!

Originally posted by quixoticism101

PS… Who’s ready for Not Today? Not me that’s for sure

So, I hear you liked TURN.


Apres the Season 4 finale, I know there’s going to be a lot of crying, and hand-wringing, and rewatching, and these are all good and proper things to do in the wake of a TV show you’ve enjoyed.

But after the smoke clears from all of that, you’re maybe going to go looking for your next 18th century fix, just something in between rewatches or while you’re trying to flesh out your next story idea. (Hey, now that we have our canon, go hog-wild on story ideas, guys, seriously.) 

So I’ve saved you some trouble and made you all a helpful list.

Obviously there are a lot of movies and TV shows out there - this is just a selection that I wish more people knew about.

Note: Everyone enjoys a show or movie for different reasons. These shows are on this list because of the time period they depict, not because of the quality of their writing, the accuracy of their history or the political nature of their content. Where I’m able to, I’ve mentioned if a book is available if you’d like to read more.

Before we get to the rest of the list, there are three excellent shows that are either currently on television or about to be very soon:

Poldark (BBC/PBS) is based on a series of books by an author named Winston Graham. It was made into a PBS series in the 70s starring Robin Ellis as the handsome Captain Poldark, who returns from the American Revolution to find his family farm in tatters and his long-time love interest married to his cousin. Drama ensues. The 70s series is worth your time, and the recent remake with Aidan Turner in the title role is also definitely worth a go. (If you like leading men who make terrible life decisions and the women who put up with them, this is totally your show.)

Harlots (Hulu) - If you really loved the TURN ladies, thought Lola and Philomena deserved more than they got, or are just interested to learn more about what life might have been like for the lower classes in London in the 1750s, have we got a deal for you. Harlots follows the lives of 18th century sex workers in this new drama, which was just recently renewed for a totally deserved second season. Female-lead ensemble drama. A little violent at points and deals with some pretty heavy-duty topics like rape, murder, and bastardy, but in a humane and understanding way. Totally bingeable.

Outlander (Starz) - Based on the wildly popular series of books by Diana Gabaldon, this time traveling drama jumps between a couple of different centuries and follows the story of Jamie and Claire, two very strong personalities trying to literally find their place in history. (Hewlett talks about the blade his grandfather picked up at Culloden; that battle forms a critical part of this show’s storyline.) It’s a real pretty show with very high production values.

And, without further ado, the rest of the list!

John Adams:  If you haven’t watched this already, do yourself a favor and go pick it up from the library. Starring Paul Giametti in the title role, this HBO miniseries follows John Adams’ role in the formation of America, through his early days in Congress up through his own presidency. As with any biographical show, characters that we know and love from other media (Rufus Sewell’s Hamilton comes to mind, but see what you think of David Morse’s Washington, too) are presented in a slightly different light and provide some food for thought about how history can be selective in how it remembers us. The costuming is great, the sets are fantastic, and the acting is first-rate.

The Patriot: An oldie but a goodie. Mel Gibson plays a highly fictionalized version of Francis Marion, the Swamp Fox while Jason Isaacs turns in a really stellar hottie we love to hate in Colonel Tavington. A little heavy-handed at times, this is a good movie to laugh over with friends.

Sons of Liberty: I’ll be really honest - for a show from the History Channel, the history on this show is pretty awful. But the cast is pretty. This one’s up to you, really. It fills a hole.

Garrow’s Law: William Garrow was a barrister and a pioneering legal mind in the 18th century, and this show (which ran for 3 seasons) is based on real Old Bailey cases and Garrow’s defenses, while also working in his fraught social life. Were you interested in learning a little more about Abe Woodhull’s erstwhile legal training? This is the show for you.

City of Vice: A miniseries that explains the origins and work of the Bow Street Runners, one of London’s first police forces.  Does a great job of opening up some of the early 18th century underside of London including a smidge of 18th century gay culture.

A Harlot’s Progress: William Hogarth was an 18th century artist, printmaker and social commentator whose “A Harlot’s Progress” famously depicts the downfall of a woman who goes into prostitution. This 2006 series explores the relationship that inspired the ‘Harlot’ piece.

The Incredible Journey of Mary Bryant: At around the same time America was busy trying to figure itself out, halfway around the world another one of Britain’s colonial possessions - Australia - was just getting started. Hundreds of convicts found themselves stuffed in ships and sent to the other side of the world - a sentence deemed almost more humane. This 2005 series with Romala Garai follows a very famous convict, Mary Bryant, and her experiences.

Banished: Another take on penal colonies in Australia. Currently available on Hulu.

Black Sails: A more recent offering from Starz, this show explores the backstory of the pirates in Robert Louis Stevenson’s Treasure Island. Lots of great representation issues, a whole lot of ‘how does your story get told’ - and there’s a real big community on Tumblr who loves it and very actively produces all kinds of fic.

Clarissa - Simcoe fans, this one is totally for you. Based on the epistolary novel by Samuel Richardson, Clarissa follows a girl of the same name as the infamous rake Lovelace tries to seduce her. Another look at what how women can be corrupted. Also, for you fandom nerds in the crowd, Lovelace was one of the first characters to inspire fix-it fic. Yes, really! Fix-it fic in the late 1700s. Lovelace is one of the original men for whom the ‘No, really, I can reform him’ trope was created. (Richardson, his creator, was so horrified by this reaction by his fans that he actually revised the book several times to try and make Lovelace even more villainous and irredeemable, with little success. Then as now, women apparently love the idea of a bad boy.)

Amazing Grace - The history of slavery in England and its colonies is complicated and nuanced; this story deals with one of the more famous names from that story, William Wilberforce, and his contribution.

Belle - Based on the true story of Dido Elizabeth Belle, the mixed race daughter of a Royal Navy Admiral. Another look at racial politics in England.

The Aristocrats - One of my all-time favorite TV miniseries and based on the nonfiction book by Stella Tilyard, this show follows the (actual, nonfictional) Lennox sisters, daughters of the Duke of Richmond as they grow up, marry, and adjust to rapid social change from the early 1700s into the 1790s.

The Duchess  - About the same time the Lennox sisters were out in society, so was Georgiana, the Duchess of Devonshire. This is based on (I’m not sure how closely) Amanda Foreman’s biography of Georgiana, one of the leading ladies of her day.

Dangerous Liasons - Another story about corruptible young women, this one has 3 very well deserved Oscars to its name and an absolutely stunning Glenn Close.

Barry Lyndon - a very evocative, sumptuous film by Stanley Kubrick. Short on action, but very, very Aesthetic, as only Kubrick can do.

The Scarlet Pimpernel - Based on the book by Baroness Orczy, The Scarlet Pimpernel is largely considered to be one of the world’s first ‘superhero with a secret identity’ stories. Sir Percy Blakeney uses his identity as a dim-witted fop to provide cover for his activities rescuing French aristocrats from the guillotine during the French Revolution. The 1982 version with Anthony Andrews and the 1999 version with Richard Grant are both a lot of fun.

Speaking of the French, where would we be without them? Our small domestic dust-up with Britain has far-reaching international consequences, setting in motion so many other social movements in Europe. The French, for instance, will have their own revolution several years after ours, which, of course, will lead to a total political shakeup ending with an artillery officer named Napoleon Bonaparte on the throne as Emperor. (You may have heard of him. He goes on to have his own series of large wars and, you know, completely changes the geo-political landscape of Europe. Like you do.)

La Revolution Francaise, filmed for the 200th anniversary of the Revolution, is available on YouTube in it’s entirety with English subtitles! Starts in 1774 and goes through the 1800s. C’est merveilleux.

Marie Antoinette - Sofia Coppola’s wild, modern romp through the life of one of the 18th century’s most notorious women. It may not be great history, but darn me if it isn’t fun to watch.

Farewell, My Queen - Another story about Marie Antoinette - this one is in French.

Nicolas Le Floch: An 18th century crime procedural set at the court of Louis XVI. The whole show is in French, so watch with subtitles, but the costumes are a lot of fun and it gives an interesting picture of the life a character like Lafayette would have left behind when he came to America. (He gets name dropped a few times, actually, though he never actually appears.)

Ekaterina: A 2014 miniseries from Russia discussing the rise of Catherine the Great, the Empress of Russia from 1762 to 1796, contemporaneous to the Revolution. The 18th century is a fascinating time in Russian history and Catherine is a really, really interesting lady. Totally go and read about her.

Anno 1790: A Swedish crime procedural set in 1790s Sweden and following Johann Däadh, a doctor recently roped into the police force. Däadh is a bit of a reformer, interested in the rights of man and giving everyone a chance to be heard. Costumes are fun, and there’s a really great slow-burn romance between two of the characters, one of whom is (gasp) married. This show only ran for one season, but it was a really, really good season.

If you’re still jonesing for period dramas after the rest of this list, here’s a lot of shows and tv series set during the Napoleonic Wars that are also totally worth your time - the Richard Sharpe miniseries, the Horatio Hornblower miniseries, the BBC’s War and Peace, Master and Commander, and then, of course, anything based on a Jane Austen novel.

Have fun!

We talk with Toby Froud about Netflix's upcoming Dark Crystal prequel!

Yesterday, the faerie community, and indeed all those who love beautiful and fantastical storytelling, received momentous news when Netflix officially announced their upcoming project, slated to begin filming in fall. A prequel series to the beloved 1982 Henson/Froud film, The Dark Crystal, it will run for ten episodes and include state-of-the-art puppet creations from the imaginations of our own friends and Faerie Magazine contributors, Brian and Toby Froud. The series is called The Dark Crystal: Age of Resistance, and our minds are racing with guesses as to what characters and stories might be included.

The original film, The Dark Crystal, featured a world imagined by renowned fairy artist Brian Froud (conceptual designer) that was a surreally accurate three-dimensional recreation of his artwork. Froud’s imagination combined flawlessly with Jim Henson’s vision and skill, and the film is now considered a fantasy masterpiece. With Jim Henson’s Creature Shop and Brian and his impressively-skilled puppeteer and artist son, Toby, involved in the project, we have no doubt that the project will be a rousing success.

Deputy Editor Grace Nuth was able to give Toby Froud a quick phone call to ask him some questions about the project.

Faerie Magazine: How hard has it been to know this project was happening and not be able to share it?

Toby Froud: We’ve been on this around five weeks or so. When people have asked us “will Dark Crystal ever happen again” and things like that, my mom and I have had to keep quiet, and say “well, possibly,” and things like that.

FM: Way back at the first Faeriecon, your parents were guests, and announced the possibility of another feature film, so this has been a long time coming.

TF: It has! The idea of doing a sequel has been kicking around for twelve years or so. They did the Power of the Dark Crystal stuff for this big sequel feature, and it never really got off the ground. But then after the resurgence from the Hensons doing all of these competitions, [ex: Jim  Henson’s Creature Shop Challenge on SyFy] and having the fan base be what it is today, it just so happened that they caught the idea doing of a prequel, using all of the writing and lore of the world that now exists in recent years. Netflix said yes, so it became this idea that the Hensons would think in a different way, a prequel instead of a sequel. And now here we are.

FM: Were you and your father directly approached by Netflix, or by the Hensons?

TF: By the Hensons. It’s a Henson-Netflix production. We are a part of the Hensons’ development to build the creatures and world under management of Netflix.

FM: You and your father have worked together in creative capacities informally throughout your life. Was the creation of “Granny” for Lessons Learned the first time you had him create a creature, and you then translated it into a three dimensional puppet?

TF: It was, for a film together. We certainly have done a lot of puppets…Ignatz [Toby’s Froudian puppet, seen at many fairy events like Faeriecon] was my father’s design, and my creation. But Granny was our coming together for film.

FM: Do you anticipate the creations on this Dark Crystal project happening similarly, with him creating the concepts and you interpreting those concepts in three dimensional puppets, or do you and your father plan to work together to create the concepts as well?

TF: We are doing both. What’s very interesting is I am working alongside my father right now in the conceptual designs. I am translating his designs still as well, into three dimensional forms. What is bigger and is the amazing part is the translation of them into puppets. My father and I are giving them these characters; we are developing these ideas with the Hensons…and Louis Leterrier, and Lisa Henson and my father and I are figuring this out, creating this visual. Then the team of the Jim Henson’s Creature Shop, this amazing team, are creating the puppets for us.

FM: Has work already begun on pre-production?

TF: I am in the studios in L.A.! I’m working with them on a daily basis, designing and also fabricating with them. Then my father is in England, and he is designing from there. So work has begun fast and furious!

FM: Of course you can’t tell us anything about new creations, but what is your favorite type of creature in the world of the original Dark Crystal film? Are there any that you are especially eager to bring to life?

TF: Ooh…That is a tough question. I love them in different ways: To revisit all of the Skeksis…To be able to build a Mystic again, things like that. To be able to envision in the new world with new technology and modern times, bringing these creatures up to date in certain ways. I am so excited to see Aughra on screen as well. So that sort of thing is what I can’t wait for. I’m excited to see the new creatures of the world and also the expansion of the world itself. And then we are revisiting certain things of the old world too…that’s what I’m excited for.

FM: Will your mother be assisting on this project as well, or just a father/son duo?

TF: Wendy is certainly consulting on this, especially with the Gelflings, because she did Jen and Kira originally. So I’m working closely with her and also my father. But she was the sculptural designer for those, and so she’s invaluable to our new process.

FM: How does it feel creating a large-scale work that your young son can grow up watching, just as you watched Dark Crystal and Labyrinth growing up?

TF: It’s…I mean it’s amazing. Beyond amazing. This project is very interesting because it’s a legacy. It’s a dream to do this. What is fascinating is that I am the same age my father was when he started The Dark Crystal. So what’s really interesting is that that’s coming to light. It’s wonderful that I get to work with him and the Hensons on this thing. It’s far more than just another project. And yes, to continue that, and to have my son grow up and see this project eventually. It’ll be interesting.

There’s a lot of pressure from fans and from the world. We’re trying. And what will be wonderful is actually the new: the new ways, new look, new feel. The director coming in and putting his vision into this, and the producing team, and Netflix. It’s quite an interesting and wonderful marriage. I think it will benefit, in a lot of ways. I’m excited to see what director Louis Leterrier does: bringing the camera to life in new ways I think the audience will really enjoy.

Netflix is an amazing juggernaut of a company that has great creative taste in what they’re providing the world, and things to come. It’s brilliant. A very clever match.

PSA

Hey kids, I shouldn’t have to say this but please be aware that omegaverse is inherently homophobic and transphobic and omegaverse content will never not be disgusting. You may think you can do it in a way that’s “good” but the reality is that the very foundation of omegaverse is built around homophobic ideas about gay men (that they’re predatory, animalistic and can’t control themselves sexually, that our relationships always fit into some heteronormative dominant masc/submissive fem dynamic, that gay sex is equivalent to rape) and transphobic ideas about bodies and how those interact with gender and temperament (instead of acknowledging that there are men who can get pregnant and attempting to treat the subject respectfully, creating a new set of genders and a totally nonsensical new system of human biology to accommodate your fetishism that is, again, based on homophobic and frankly also misogynistic stereotypes). Gay relationships are real, they’re not fantastical playthings for you to impose homophobic norms on uncritically. Omegaverse is awful. Seeking it out is awful. Creating content for it is extra awful. Again, no matter how well you think you’re doing it, it doesn’t matter because it is, by definition, awful. If you create/consume OV content, you need to either self crit or realize that this makes you a homophobe and a transphobe, point blank, and I for one am not going to cut you any slack.

Additional note: omegaverse is often abbreviated “abo” but this is a strong racial slur in Australian English, so it should be avoided. OV works just as well.

WARNING: LONG POST ABOUT A CARAT’S LOVE FOR SEVENTEEN. IT’S THEIR ANNIVERSARY AND THE FEELS ARE JUST TOO MUCH

I never thought this would happen.

I  never thought I would just  ‘Slip into the Shining life’ 

I never thought I would be a  Carat.

I fist discovered Seventeen with Adore U, their debut. But at that point I had only joined the kpop fandom for a few months and only liked older groups. I thought ‘how can someone Stan young groups?’ And so many of them…. I just learnt the names of Exo and Super Junior, how will I learn them too?!’

Keep reading

[…]  Here in my spheres of the Internet, it’s funny how everyone shares this idea that WRITING = fantasy and science fiction, that WRITERS are people who get loads of money to publish their space elf stories. I think we all found each other here and now because we share these roots of being The Bookish Children, who aspired to be Tolkien or Adams when we grew up, and I think that’s great, and I’m so glad we share all this.
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It’s weird, though, how our Writing About Writing then tends to be about fiction. And fiction is such a strange market, a really weird beast. I think that a lot of this post applies to fiction writers in a particularly toxic and demoralizing way but it’s also very true in nonfiction writing.
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As a kid you have all of these… IDEAS about nonfiction writing. That your textbooks and news stories and magazines and adventures and dictionaries and everything are prepared lovingly and truthfully by experts. Edited and approved by some great authority. It isn’t Authors or Writers who create this stuff; you don’t want to grow up to be them; they are oracles, not celebrities. There is still this perception that nonfiction is handed down benevolently, like stone tablets from God.
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And the truth of it is that nonfiction is handed down by whoever met the deadline first. These were generally not The Bookish Children whose Daydreams Finally Took Fruitful Wing. These were the ones who believed Terry Pratchett when he said “If you trust in yourself…and believe in your dreams…and follow your star…you’ll still get beaten by people who spent their time working hard and learning things and weren’t so lazy.”
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The truth is, natural talent attracts a certain magician’s-flair attention, but that the Content Machine is starving, and it gobbles up sparkly cupcakes just as fast as it gobbles up plain bread. The news cycle turns over. Nobody’s reading it carefully, thinking of the children, setting words to flake and texture against each other just so. They’re thinking of Wednesday. They’re afraid they’re about to be found out as Mediocre, and if they miss another deadline they will get the Raised Eyebrow.
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Talent is a pony you can ride for 3000 words, but when your job is 10,000 words a week then you need a fuckin trained warhorse that puts its head down and carries you stolidly through a battlefield of distractions and doesn’t listen when you try to steer it otherwise.
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So you get this dichotomy in Writing about Writing, where in Fiction Writing you’re encouraged to build an elaborate fairy grotto and arrange the correct pencils in pretty Mason jars to attract the attentions of a Muse, and then do a bit of performance art where you try to market yourself while also being very humble and modest - it’s not very evidence-based, is it? And in Nonfiction it’s just THROW WORDS AT THE PAGE UNTIL THEY STICK! THROW WORDS AT THE WALL - THROW WORDS AT YOUR MOTHER. THROW YOUR MOTHER AT THE WALL. FUCK FUCK BALLS THEY’RE SLIDING OFF!! FUCK HAND ME THAT CONCLUSION WE’LL NAIL IT INTO PLACE AND PAINT OVER IT AND IT’LL KIND OF… CRUST OVER. THIS IS CRAP, IT’S THE WORST THING I’VE EVER MADE, SEND THE FUCKER OUT THERE YES GOOD DONE.
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And the Nonfiction gets written, every damn day, thousands of words, filling up the Internet, bringing the news, coming through the radio, teaching the children, adorning the museums, educating the people, telling the truth, selling the product - it gets out there. But don’t think it isn’t creative, powerful, coming from some essential source - its pedigree is just as potent as fiction’s. This post may be terrible, but it has warhorses and cupcakes and all sorts of strange and alarming imagery. And most of nonfiction writing isn’t good. Most of it is workhorse, mediocre, bringing the truth to your mouth - some of it’s terrible. This certainly is.
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And you didn’t notice. You noticed it was there.
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Maybe try writing fiction like you’re writing nonfiction. Maybe it will help.
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-elodieunderglass
—  @elodieunderglass - such a fantastic response to this quote (originally a quote from Megan McArdle in an Atlantic article titled ‘Why Writers Are The Worst Procrastinators’) that i had to give it its own quote.
On Religion in the Wizarding World

In various discussions of the portrayal of Tina and Queenie’s Jewishness, there have been a few arguments that keep coming up, so I wanted to address them.

One thing that’s come up a few times is the idea that there’s no religion in the wizarding world, based on the fact that it’s never mentioned in the story.  But, let’s break that down:

- Harry is oblivious.  If anyone other than the Weasleys or Hermione was religious, he probably wouldn’t notice.

- Minor characters’ religions aren’t relevant to the story, so even if he did notice, it wouldn’t make into the books.*  We never hear about, say, Hannah Abbott’s favorite food, but that doesn’t mean she doesn’t have one.

- Religion actually is mentioned in the story; every year, we see Christmas celebrated at Hogwarts.  “But they’re celebrating secular Christmas,” you might say.  And, yes.  But the thing is, this argument often comes up when I point out that, say, the Goldsteins should have been portrayed as celebrating Chanukah – which most American Jews celebrate as a secular holiday despite its religious origins and significance.  Why is a Jewish holiday inherently religious and therefore inappropriate in a secular story, while a Christian holiday is not?**

- The Barebones are very religious.  They’re not wizards, true, but saying religion isn’t in the story is simply incorrect.

- The ending of Deathly Hallows is a pretty clear Jesus allegory.  So, while that’s not an example of in-universe religion, it’s still very much present in the story, and honestly seems like it would be lot more offensive to someone who doesn’t want religion in their stories than religious characters would be.

The next thing I want to address is the idea that being wizards would cause people to abandon their religions and cultures, because they’d assimilate into wizarding culture instead.  Now, I can’t speak for other religions, but I don’t think this makes any sense for Jews.  People have been trying for centuries to get us to abandon our religion and culture and it hasn’t worked.  Even the American melting pot hasn’t made as much of a dent as you might expect.  Would Jewish wizards adopt wizarding culture?  Absolutely.  Would they just decide to stop being Jewish?  No.  They’d probably create their own distinct flavor of Jewish culture, much like Jewish groups all over the world have done, but there’s no logical reason to think they’d just abandon it.

And have the other groups we see in the books abandoned their own cultures in favor of wizard culture?  Well, yes and no.  English wizards wear robes, use quills, etc.  But they also still celebrate Christmas, drink tea, speak British English, and have a British-style boarding school.  And this makes sense – cultural fusion is what humans do.  Jewish wizards would be no different.

*Another argument I’ve heard is that the Goldsteins’ religion isn’t important to the story, so it shouldn’t be included.  And that makes sense, except that Fantastic Beasts goes beyond simply not adding it to, essentially, actively omitting it from places it should be.  A quick google search can tell you that the movie takes place during Chanukah, yet when we have a dinner scene in their house, we don’t see them celebrating it.  This would be like having a movie set on December 25th and not seeing any mention of Christmas in a dinner scene in a Christian character’s apartment.  It doesn’t make sense. 

**Earlier, I asked “Why is a Jewish holiday inherently religious and therefore inappropriate in a secular story, while a Christian holiday is not?”  I also want to ask, even if it was religious, why would that be inappropriate in a secular story?  Religion is a part of many people’s lives.  It gets a really bad rap because of the real-life people who are like Mary Lou Barebone.  But many (if not most) religious people aren’t like that at all.  I think people feel that any portrayal or discussion of religion in a public sphere is inappropriate (to the point that Quebec is even considering making it illegal for government employees to wear religious symbols or garments, such as hijabs) but maybe it’s worth investigating if that really ought to be the case.  Obviously going out and proselytizing to people is not okay, but a religious person existing as their full self in public should be fine.  Likewise, characters existing with their religion and culture portrayed should be fine, too.  But beyond that, people seem to be pretty comfortable with public expressions of Christianity (eg. Christmas displays in every storefront, Christmas music playing for weeks in public places).  It’s worth asking why that is okay, but public expressions of Judaism and Islam are not.  If your answer is “because Christmas is secular,” I think it’s worth reflecting on a few things:

- Is Christmas really so secular?  Do non-Christians see it as secular?
- Are publically displayed Nativity scenes okay?  Are they secular?
- Why is Christmas secular, but similarly secularized expressions of other religions (eg Chanukah) aren’t?
- Why are public displays of religion inappropriate in the first place?
- What is your discomfort with religious expression really about?

Thanks for reading. <3  I hope this shed some light on my frustrations with some of the conversations I’ve had about this.

This is How Yoon Bum Will Escape Sangwoo (KS Ending Theory)

Okay, after reading Chapter 27 I’ve come up with a theory for Yoon Bum’s escape (and, possibly, the ending to Killing Stalking). I call it the ‘Turned Tables’ theory. And yes, your brain is going to hurt very much after reading it.

DISCLAIMER: The author is fantastic at throwing twists everywhere, so if this doesn’t happen I won’t be surprised. However, if it DOES happen the Internet owes me a puppy….and a million dollars. Anyway, moving on to the theory…

(Bear with me, it will take a while to get there because we are going to have to take a little trip inside Sangwoo’s head first…)

Although Sangwoo’s split between child/killer, affection/cruelty, mother/father has always been there, in Ch 27 we finally see 'Child’ take the reins (for like, a minute…). We see his vulnerability and fright, his willingness to please (if only, for his own feelings of security).

From Bum’s capture until now, Sangwoo has been recreating his past step for step, leading up to his parents’ murders. He is recreating these events in the hopes that they will result in a 'happier’ ending this time, not because he regrets killing his father (and, possibly, his mother too?), but because being able to choose the ending gives him power he didn’t have before. For Sangwoo, everything is about power. Why? Because, growing up, he had none.

His father controlled him through violence. His mother controlled him through love, and through a guilt born of love. She used Sangwoo’s love for her to guilt him into behaving the way she (and the father) wanted him to behave. How? By making Sangwoo feel as though he was responsible for his father abusing her. She (inadvertently?) made Sangwoo into a puppetmaster—the true villain—by implying that he was causing his father to abuse her, that if it wasn’t for Sangwoo, the abuse wouldn’t be happening at all. Example: 'you made a mess – why would you make a mess if you love me? What will your father do to me when he sees this mess you made?’.

Getting back to the 'choosing the ending’ thing. His parents’ murder(s) were a response to years and years of abuse—it was a defiant, but defensive, decision. A reactionary one. The choices for Sangwoo were 1. kill the abuser(s) to stop the abuse, or 2. let the abuse continue. Even though he killed, the killing didn’t give him a true feeling of control because it was not an offensive move. Hence, this could be why he kidnaps and kills (mostly) women in the way that he does; he creates the entire scenario from start to finish. He chooses the victim and every single thing that leads to their death/burial.

From the beginning, Yoon Bum was not like the others for that very reason. He was male – not a victim Sangwoo would normally choose. He arrived unexpectedly – Sangwoo did not bring him there. He didn’t behave the way Sangwoo expected his victims to – Bum loved Sangwoo, even during the pain Sangwoo inflicted on him. So, from the start, in a weird way the tables have been tilted in Bum’s favour because he controlled the beginning – Sangwoo did not.

Yoon Bum began in the basement and has been steadily moving up to the top floor. Sangwoo, by allowing this, has been relinquishing his control in increments, allowing more of the Child to surface and the Killer to retreat. Now that Yoon Bum is on the second floor, the Child and Killer are evenly matched and it can go either way from here. The tables are at the tipping point. From this moment on—if Ch 27 is any indication—I think we are going to be seeing some EXTREME moodswings as Child and Killer fight for dominance. Why must there be dominance?

Because Sangwoo is not capable of being a mentally balanced human being.

He is Killer or Child. It is one or the other because he has absolutely no sense of self. His childhood was so screwed up that it stunted his psychological development, preventing him from ever reaching the point of adult self-actualization: aka the moment when children/teens become adults with their own established, individual identities that are separate from their parents’. As a result, there is no Sangwoo; there is only father or mother.

Because of this, Sangwoo is going to realize, probably pretty soon, that the only way to avoid killing Bum and avoid being like his father, is to completely become his mother. This means, he will have to give up the control/power he has spent his entire post-parents life cultivating. He will have to revert to being the pleasing, submissive, affectionate mother only. And because Mother and Child are, in some ways, one in the same he will also have to go back to being the abused Child with no agency whatsover.

“Hey, wait a minute!” you, the reader, shout. “If he becomes his sweet, doting mother, then that’s great! He will shower Bum with love and they will ride off into the sunset!”

WRONG.

I’m going to go out on a limb here, and say that there was never a time in Sangwoo’s life when his mother was not being abused. Ergo, to Sangwoo, that abuse is integral to her identity. Since he never knew his mother before she was abused, he has no idea who that pre-abused person was and therefore can’t recreate her without the abuse. And, if the abuse is there then the abuser must be there too. So, for Sangwoo, his mother cannot exist without his father; there must always be both. But then, if Sangwo completely becomes Mother, who will be Father?

That’s right. Yoon Bum.

If Sangwoo TRULY chooses to become the new Mother to avoid killing Bum (who is currently Mother), in order to give child/past-Sangwoo the agency/control he never had, he will—oh so ironically!—have to give up the control/power that adult/present-Sangwoo currently has and become that child-Sangwoo again.

Does your head hurt yet? MINE DOES! But we’re not done yet!

So if (and this is a BIG IF!!!) Sangwoo becomes the powerless, abused, doting Mother he will NEED Bum to become both Father AND Child, because in order for Mother to exist she needs both a husband to fear and a child to love (and, possibly, manipulate?). So, where does this leave Bum?

If Bum becomes Father, then his word is law. Even if he becomes Father+Child, he is still in control because, although Mother would emotionally manipulate Child she would never dare to disobey Father. So, Bum would be in the ultimate position of power and could use that to ultimately escape.

However, here is the wild card.

Throughout the story, while Sangwoo was recreating his past, he was putting Bum in the exact same position child-Sangwoo was. This fierce cycle of affection and violence, could potentially cause a major, unexpected shift in Bum. Although Bum’s childhood wasn’t exactly the same as Sangwoo’s (we assume he had a normal childhood up until his parents’ deaths) it was similar. He had the affectionate/manipulative aunt and the violent uncle, and then he experienced this affection/violence cycle again with Sangwoo, whom he had seen originally as a savior. Now that the hero worship is waning and Bum is becoming apathetic toward Sangwoo (because of the “you’re disgusting” comments, Sangwoo now = the uncle, in Bum’s eyes), there is the chance that—if Sangwoo becomes the docile Mother—Bum could take advantage of Sangwoo’s new-found vulnerability and decide to stay with him in that controlling role of Father, rather than escape.

From here, who knows where it could go?

That is my theory so far. Again, if I’m right, I expect a puppy and $$$. Please and thank you!

BONUS MINI-THEORY: Right now, I don’t think Sangwoo’s father killed his mother. I think Sangwoo’s father almost killed his mother, but Sangwoo killed him in order to stop him. Afterward, I think Sangwoo bandaged whatever wound his mother had (and the two of them went to clean off in the tub together?). Then, recalling how violently Sangwoo killed his father, his mother said something along the lines of 'you’re just like him’, which sparked Sangwoo to first say, like he said to Bum “I bandaged your wound! I did all this for you! You’re ungrateful!” kill her too, (in the tub perhaps?), because he thought she would leave him. He may have even deluded himself into believing that his father DID kill his mother – not him. 

Want to read my other KS post? Click here! http://princessbangarang.tumblr.com/post/163661446500/a-question-for-sangwoos-fangirls-and-fanboys

That Special Time of the Month

Originally posted by antisepticdark

Summary: Fem!Reader wakes up to find that her period came during the night and now she has to deal with the guys being annoying at the office… Well mainly just Mark. Hope you guys like!

A/N: Hello! I wrote a fic, and trust me its not very good and it’s waaay longer than it needs to be. Be gentle, I’m new to the whole posting my writing thing. Also! I speak fluent Spanish so i used some slang in the fic!
“No mames”- Spanish slang/curse for “no way”/“no fucking way”
“Sentida”- Spanish for upset or offended (in this context reader is sad)
Lastly there’s a text conversation in the fic so ‘-’ is Ethan and ‘=‘ is Tyler.

Wordcount: like +2k I’m sorry this is too long bye

Requests are open? This is no good so I don’t know why anyone would be requesting but yeah you can do that if you want. Hope you guys enjoy!

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