i love it when a character's name meaning actually links to their personality

The 10 Elements of a MAIN CHARACTER

To all the writers who have ever been told “Your characters have to be three dimensional!” or “They should be well-rounded!” and just felt like saying: “What does that even MEAN?! What goes into a 3-dimensional character? Specifically? And how do you go about creating one?!”

Good news. There’s a way. 

Great main characters – heroes, protagonists, deuteragonist, whatever you want to call them – have ten things in common. Ten things that are easily developed, once you know what to create within your character. So no one will ever be able to tell you “needs to be more three dimensional!” ever again. Ha. 

1) Weaknesses: Main characters should be flawed, but I’m not saying this because it will make them more realistic (though it will) – I’m saying they need to be flawed because if they’re not, they shouldn’t be a main character. Story is another word for change, or more accurately, character growth. Not character as in “fictional person”, character meaning “heart and soul”. Story is someone’s character changing, for better or worse. Main characters at the beginning of the story are lacking something vital, some knowledge of themselves, some knowledge of how to live a better life, and this void is ruining their lives. They must overcome these weaknesses, if they’re going to become complete, and reach a happy ending. There are two types of weaknesses: Psychological and Moral. Psychological ones only hurt the main character. Moral ones cause the main character to hurt other people. Easy.  

2) Goal: Characters exist because they want something. Desiring something, and the fight against opposition for that desire, is the lifeblood of story; and because character is story, it’s also desire that can breathe life into words on a page, and begin the process of creating a real person in a reader’s mind. It’s this ‘desire for something’ that sparks that first connection between reader and character. It makes us think “Well, now I have to find out if this person gets what they want.” This is a powerful link. (How many mediocre movies do we suffer through, when we could easily stop watching, because we’re still trapped by that question of “what happens?”) So if this is powerful enough to keep people watching an annoying movie, imagine how powerful it can be in an excellent story. 

Like in Up, the goal is to get the house to Paradise Falls.

3) Want: If the main character wants something, they want it for a darn good reason. Usually, they think that attaining the goal will fill the void they can sense in their lives, the deficiency they can feel, but don’t know how to fix. And they’re almost always wrong. Getting the goal doesn’t help anything; which is why, while pursuing that goal, they discover a deeper need that will heal them. Which brings us to …

4) Need/Elixir: Main characters are missing something, a weakness in their innermost selves is causing them to live a less-than-wonderful life. Through story, these main characters can be healed. Once they discover what’s missing, and accept it, and change the way they live to include this truth they’ve uncovered … they’re healed. Learning this truth, whatever it is, forms the purpose of the story for the main character. The reader, and the character, think the story is about achieving that big tangible goal the premise talks about; really, underneath it all, the story is about someone achieving a big intangible truth, that will ultimately save their life and future. Often, this need is exactly what the character fears or professes to hate. 

Like Finding Nemo, where Dory states exactly what Marlin needs to learn. 

5) Ghosts: 

Not this kind of ghosts.

Ghosts are events in your character’s past which mark the source of their weaknesses and strengths. Because these happened, the character became who they are. All we need to know about backstory are these moments, because who the character became is all we care about. There’s really only one ghost you absolutely need: the source of their moral and psychological weakness. Something happened that knocked the character’s world off kilter, and everything from that moment onward has been tainted by what happened. This moment haunts them (hence the name), and holds them back from uncovering that need that will heal their weaknesses. Pixar are masters of this: the source of Carl being stuck in the past, curmudgeonly, unable of loving anyone new? Ellie dying; his ghost. In Finding Nemo, the source of Marlin being suffocating, protective to the point of being harmful, possessive, and fearful? His wife and 99% of his children being eaten in front of him; his ghost. 

6) True Character: These are the strengths, values, convictions, fears, faults, beliefs, worldview, and outlook on life that make the main character who they truly are. 

7) Characterization: This is everything on the surface of a main character. The way they look, talk, act, etc. All of this originates from those deeper elements of their being, the strengths, values, ghosts, weaknesses, needs, that make them who they truly are. So often, you can think of this as a facade they’re projecting, a way to shield the the truth about themselves, how they wish to be perceived. The story, and the other characters, are slowly going to see deeper than this characterization, revealing more and more of the reasons it is the way it is. 

8) Arc: If the character is going to change from “Incomplete Person” to “Complete Person” there’s going to be a journey they go on to make that possible. The external story, the pursuit of that big tangible goal the premise is about, is causing an inner journey to take place. What they have to do in pursuit of that external goal will apply pressure to those weaknesses, and pressure causes change. This process has seven steps, but if I write it all here this post is going to be obscenely long. So I might wait and give this its own post.

9) Changed Person: Who is the character going to be at the end of this story? They better be different, or else the story didn’t work. How do they show how different they’ve become? What is the moral choice they make, that spins their trajectory from “the future doesn’t look so great” to “happily ever after”? This should be known right away, maybe even before anything else is settled about the character. This gives a distinct end goal, a way to work backwards, a destination in mind that you can navigate towards.  

10) Fascination and Illumination: The surface characterization, and the brief glimpses of the true character underneath create curiosity in the reader/audience. What the character says, and the implied subtext beneath the dialogue, creates a puzzle the audience wants to solve. Actions they take work the same way; if the writer indicates there’s deeper motivation behind why a character behaves in the way they do, we buy into solving that mystery right away. We can’t help it. “Who are you really? Why are you the way you are? And how is that going to effect the story?” These are all the unspoken, almost not consciously acknowledged, questions that fascinating characters provoke. Searching out meaning, connecting the dots to find the truth – we can’t resist this. We’re not fascinated by tons of backstory and exposition about a character; we’re fascinated by story, by mystery, by the technique of withholding information and having to interpret and hunt out the truth on our own.  So gradually, the story and the characters will force that character to reveal a little more, and a little more, until we have a complete picture of who this person is. Crucial that this information isn’t told up front. Gradually illuminate it. It’s just like getting to know a real person. 

So how does this work in a real character? Let’s take a look at Flynn Rider/Eugene Fitzherbert, because almost everybody has seen that movie. 

Moral Weaknesses: He’s selfish. He’s a little greedy. He’s a little rude. He uses his charisma and bravado to keep people at a distance from the real him. 

Psychological Weaknesses: Insecurity, fear of vulnerability, feels like the real him (Eugene) would be unwanted, unlovable, and have nothing – just like when he was an orphaned kid. Also, he doesn’t know who he wants to be, what he wants to live for. 

Goal: Flynn wants to get that crown. So he has to get Blondie to see the floating lights, so she’ll give it back to him, and then they can part ways as unlikely friends.  

Want: Why does he want the crown? What does it mean for him? He actually states it (reluctantly) in song: “I have dreams like you, no really. Just much less touchy feely. They mainly happen somewhere warm and sunny. On an island that I own, tanned and rested and alone. Surrounded by enormous piles of money.” He senses there’s something off in his life, something is missing. But he mistakenly believes this missing piece is money, which will allow him to buy a lonely island, where he can live out his days as Flynn and no one will ever know Eugene. 

Need: “All those days chasing down a daydream. All those years living in a blur. All that time never truly seeing, things the way they were. Now she’s here, shining in the starlight. Now she’s here, suddenly I know. If she’s here, it’s crystal clear, I’m where I’m meant to go.” He wants a crown … he needs to fall in love with Rapunzel. He needs to love something more than himself, and find out that love isn’t something to fear and push away. He needs to abandon the 'Tales of Flynnagin Rider’ ambition, and get a more worthwhile, new dream. 

Ghost: The source of all of his weaknesses can be linked to his “little bit of a downer” childhood as an orphan. Interestingly, he isn’t aware of another facet of that ghost, and Rapunzel points it out to him. “Was he a thief too?” she asks. He looks taken aback, before answering “Uh, no.” Something’s gone wrong. The choices he’s making are not living up to that original role model.  

Characterization: Flynn’s charming, funny, smart, charismatic, and arrogant (in a somehow charming sort of way). He’s also rude, contemptuous, and sarcastic. All traits that help him keep up that 'swashbuckling rogue’ facade, and push people away from the real him. 

True Character: Underneath all that, he’s a Disney prince. That pretty much sums it up.  

Changed Person: “Started going by Eugene again, stopped thieving, and basically turned it all around.” He started the story as the guarded and evasive Flynn, he ends as the selfless and thoroughly-in-love Eugene. 

Fascination and Illumination: Imagine if everything about Flynn had been told, right up front. We know he’s an orphan, we know he’s upheld a fake reputation, we know he’s a kind and loving guy underneath it all, we even know about his “tales of Flynnagin” childhood dream. You know what happens? We like him … but we’re not interested in him. There’s nothing we need to find out. There’s no curiosity. And if there’s no curiosity, and nothing being illuminated, your story’s not going anywhere. So instead, we find out – alongside Rapunzel – more about Flynn as the story progresses. And that is how it should be. 

So!

Developing characters in this way, I’ve found, really reduces worries about how “well-rounded” and three dimensional I’ve made them. They feel real to me. And besides helping me create characters, this ten element technique has also let me analyze characters I like, which is strangely fun. It’s a great way to figure out why a character works, what causes them to be so effective, and how you can go about creating them yourself. 

Yeah, I’m a bit of a nerd. 

But if you want, try it out. Develop a character. Analyze a character. You might find it as useful/fun as I do.

Dean is bi, a succinct look over the seasons

I’ve seen a few posts about how if/when we get Bi!Dean (and Destiel) some people are worried others may cry ‘fan service’ purely because they haven’t noticed it as a continuous theme through the 12 years of the show so far. So I just wanted to compile a few snippets showing that it has been there all along, it’s not a complete list as I would have to literally spend weeks doing this as there is so much material, but here’s just a few to get started!

1x07: So, it’s season 1, everything is just ramping up so the subtext is very sub… 

Dean rejects painting the college kid yet immediately picks up a skin mag (making it sexual), ignoring the actual mag whilst ogling the kid and noticing the point just above his ass that Sam missed? While Sam in an extremely NON sexual manner does the actual painting? Nice…

2x11: There is no way that scene in Playthings is not meant for the audience to notice and pick up on. 

Originally posted by pinkman

We are supposed to pick up on Sam’s totally accurate and straight faced response to this and how Dean reacts, precisely due to it’s accuracy:

Sam: “Well, you are kinda butch, they probably think you’re overcompensating”. Sam is totally straight faced as this is exactly what he thinks is the case as is taking the opportunity to let Dean know that he knows.

source: @shixpe.   Meanwhile Dean’s face is like ‘shit… I’m that obvious?’

*TINK LOOKS INTO THE CAMERA* 

Season 4: Intro Cas. Now for the ramping up… Dean not so subtly going from small moments of showing himself looking at a guy occasionally or projecting onto Sam “how gay are you?” but now literally licking his own lips, staring at Cas’ lips, comparing them to Thelma and Louise, using his “last day on earth” line on him, I mean, ALL the Cas related chemistry that I won’t even go into here, but here’s a helpful post that has just a few examples of Cas-Dean chemistry over the years which is totally different to any other variation of Cas-Dean, because, that’s love not just lust.

6x09: The one when Dean specifically, not Dean and Sam, is associated with fairies.

source: @spn-liveblog

Where they sexualised the fairies as naked ladies with nipples on show. Where it’s textually and clearly brought to the audiences attention in this same episode that most people associate fairies with queer men.

Where Dean probably “serviced” Oberon king of the fairies (an easy link to queer King Oberyn in GoT, who’s name Dean uses in 12x18 while Sam uses the very heterosexual Stark name).

Meanwhile Sam nicely and true to form, even soulless, stays resolutely heterosexual and bangs the hippie chick while throughout the whole episode in contrast to Dean is hitting on any woman that moves.

It’s not just that Dean is consistently associated with queer subtext but also how Sam is NOT that shows how purposefully this is done for Dean.

7x12: This episode follows multiple episodes with so much “Dean was is in love with Cas subtext” (Cas dying, the trenchcoat, Sam and Bobby’s reactions, Dean’s alcoholism and coping mechanisms coming out, 7x05: Dean projecting Cas’ betrayal and their subsequent lack of communication which led to Cas’ death onto the witch couple by getting them to communicate leading to their making out furiously… immediately followed by Sam trying to get Dean to talk to him about Cas, 7x09 “Cas, black goo…” etc etc etc… 

We have not only blatant Dean-is-queer moments:

Originally posted by frozen-delight

But also the whole episode centers around an immortal who dies because they were in love with a Human who couldn’t forgive them for lying…

Then from 8 onwards we have more Dean / Cas parallels with canon romantic couples: Jess/Sam, Mary/John, Cain/Colette, Don/Maggie, David/Violet, Dean/Cassie, Chronos/Lila, Cacao/Betsy, Jesse/Cesar, Jeffery/his demon, Sam/Amelia, Benny/Andrea, Prometheus/Hayley, Dean/Amara, Ishim/Lily, Gavin/Fiona, Corbin/Michelle…

Ok so this isn’t a Destiel post, it’s a Dean is bi post, but you know, at this point they’re kind of interlinked, because Cas has a male body from season 9 onwards, that isn’t his vessel, it’s him, so there you go, have that too.

10x01:

Originally posted by shirtlesssammy

You mean THESE triplets? The only twins/triplets in the bar? Where the guy behind looks like he’s the additional triplet by his placement and his outfit being the exact in between of the who playing? The ones who Crowley was seen talking to again in the same episode? 

Either way, even if for some reason it wasn’t these particular triplets, cos you know, triplets are super common, it’s still heavily implied (and referred to again throughout seasons 10,11 and 12) that Dean had some kind of sex with triplets and Crowley, who “rubbed off all over him”…

On top of that, sorry to be crude, but we also have these moments:

“…well, you could…” *insert Drowley meta here*.

and:

Then, back to the less crude side, 10x16:

Originally posted by biwarlockhermione

So…. Dean is sick of hiding behind his facade? Do you think maybe it’s time someone came along and helped him see that he no longer needs to hide behind this wall? For a whole two seasons subtext be based around showing that Dean is in love with Cas and also kinda doesn’t mind pop music for example, is actually not quite the dude bro he makes himself our to be and has a facade up that stops him from showing it? 

Insert Amara. Whose name literally means Love. The expositional character of Dean’s innermost feelings, the extension of which is Mary, who ultimately leads to these feelings coming out after having been addressed for these two seasons…

Where an all knowing love - monster taking on her appearance tells him:

“I can see inside your heart. Feel the love you feel. Except…it’s cloaked in shame”

Where in the SAME EPISODE Dean tells Sam that he doesn’t feel love for Amara. So who can this possibly be referring to? For whom might he feel love cloaked in SHAME based on the last 10 years of what he have learned about Dean? Where only two episodes before Dean is told by a “wise woman” (who in film always sees truth) that he is pining for someone. PINING, a term interchangeable with LONGING. With whom do we associate LONGING?

I mean honestly… like we need an exposition for what this is all about…

Originally posted by casclaire

Meanwhile, if there were any issues with Dean feeling that Hunting and being queer are frowned upon they nicely insert an amazingly, fantastically, blatantly mirrored Dean/Jesse Cas/Cesar episode, even down to the brother focused story, the way Cesar and Dean click and interact so similarly to Dean/Cas and the shoulder patting being the most we actually see of them being romantic, I mean JEEZ:

Originally posted by faramaiofnerdwoodforest

And now if he needed to hammer it home even further:

Originally posted by yourfavoritedirector

I mean, I think he gets the picture… it’s nothing to be ashamed of now.

So now thanks to his own personal growth, all this and the extension of Amara, Mary, Dean has finally faced his past, his feelings and given his wall the metaphorical and literal heave - ho:

Originally posted by itsokaysammy

In conclusion:

1. Dean is bisexual. Dean has always been bisexual, he was closeted for so long, but after all this time and thanks to his being in love with one guy in particular and Mary’s role in his self awareness and self acceptance arc, now is more or less the perfect moment to come out… 

2. Dean met and over time went from lusting after to being deeply in love with Cas, who is now male, it is HIS body and he identifies with it as such, who has inconveniently right after this moment of final clarity for Dean, died what seemed to Dean to be a true and permanent Death while he screamed ‘noooo’, fell to his knees in shock and nicely paralleled two of the most doomed - romance canon couples in the show within 5 minutes (Jess and Sam and Cain and Colette).

Both sides of this have come to a climax at the end of season 12, I believe leading to things really happening now moving forwards… So this, when it all comes to the forefront is NOT fan service. 

It has been there all along, at first subtly, then growing, finally becoming core to the main plot of the character and plot based storylines until this point.

Zelda in BotW is an amazing character. If I had to make a list of the 10 best characters in the LoZ games, I have a hard time imagining she wouldn’t be on it. And nearly everything I’ve seen from other people who have played the game has been bursting with positivity and appreciation for this Zelda. 

However, I’m unfortunately not surprised to have eventually run across someone calling her “a miserable cunt” and a “shitty little shit bag” who is “demoralizing [Link] into oblivion” with over 100 people liking/reblogging their post. 

There are a couple of things to say in response to this. For starts, Jesus christ calm down. It’s wild to me how ready people are to hate characters for almost anything (and it overwhelmingly happens with female characters–jeez I wonder why). And second, did we even play the same game? Because you know what the WORST we ever saw Zelda acting towards Link was? 

That’s… that’s it. She told him she didn’t need an escort and shouted at him to stop following her. And this wasn’t just the worst that Zelda ever acted towards Link. It was also the ONLY time we saw her shouting at him or being mean to him. Was it rude/crummy/something Link didn’t deserve? Totally. Was it her being ~a miserable shitty little shit bag cunt that fucking destroyed Link’s sense of self worth~? Hell no. How the hell do you extrapolate THAT MUCH out of such a small scene? 

Just to help paint a larger, and more negative picture of Zelda, let’s talk about another memory. In the first memory, which was of Zelda preforming the ceremony to appoint Link as her knight, Zelda was acting very clearly depressed during the whole thing. That would have conveyed to Link how unhappy Zelda was with him being her knight, which would have surely made Link feel shitty. So there, that’s something else people who hate this Zelda can point to. But you know what? If you want to analyze things like this, Link also made Zelda feel shitty. Oh, sure, we all know that Link made Zelda feel shitty because of her own insecurities about being a failure of a royal princess while Link had successfully become the master of the Master Sword. But Link’s own behavior also made Zelda feel shitty. We saw in the third memory that Zelda would try to talk normally with Link. Talking casually and cheerfully about making adjustments to one of the Divine Beasts because that’s what she was passionate about! But Link… would never say anything back in response. He was silent. He was her appointed knight, but he wouldn’t even talk to her when she tried to talk to him. In fact, at that point Link had NEVER spoken to Zelda, as she expressed in her diary 

Imagine if their situations were reversed, and we saw Link talking to Zelda and Zelda refusing to respond to him and just staring at him with a blank expression–and then Link wrote in his diary about how stressful that was for him and how it made him feel like she thought he was a failure and hated him. The people who hate BotW Zelda would be jumping on that as an example of what a bitch Zelda was to Link. Even though when Link did it to Zelda, there’s no problem whatsoever apparently. Link was just a smol little precious angel that was cowering beneath Zelda’s “toxic belittling and dominance,” as one person described it. 

(And real quick… you know who was ACTUALLY “belittling” and “demoralizing” Link? Fucking Revali. You know, the guy who would walk right up to Link and go on a giant, passive aggressive and mockery-filled rant at Link about how he’s better than Link and Link doesn’t deserve the expectations that others have of him. I still think Revali is a solid character because it’s good to have a diverse cast with varied personalities and different relationship dynamics with each other. But for crying out loud, how is anyone going to hate on Zelda for how she acted towards Link early on when Revali was there being a straight up dick with 0 tragic character motivation behind him to make us sympathetic to why he acted like such a wad?) 

Of course I don’t believe that Link deserves any hate for being silent around Zelda for so long. Just like how I don’t believe that Zelda deserves any hate for the way she acted towards and felt about Link in the early memories. They were two youths who had the weight of the world placed upon their shoulders. Link’s ability to express himself was crushed by the weight of the expectations and judging eyes of everyone around him. Zelda lost her mother, was denied expressions of love from her father, was terrified that she was a failure who would doom the world to destruction because of her inability to access her powers, and was was stuck with a successful, brilliant knight who she assumed hated her and had no way of being told otherwise because HE WOULDN’T EVEN TALK TO HER. 

But despite all that the two became close. Link saved Zelda’s life. Zelda reevaluated how she thought of him and even apologized for her past behavior 

Zelda made an effort and kept talking to him, trying to get him to open up to her. And eventually he did, and she was able to learn the reason why he wouldn’t talk to her, or anyone, in the past. They traveled together. She examined his wounds after battle. They went out to collect specimens in the fields together. Zelda tried to get Link to lick a frog in the name of science. Link taught Zelda how to bond with her horse. They saw their home fall to Calamity Ganon and learned of the deaths of their family and friends. Their world collapsed. They fled. They defended each others’ lives, each saving the other. Zelda spent 100 years suffering alone to contain the abomination that destroyed their land while Link recovered from the injuries he gained protecting her. They fought together again. They freed Hyrule from 100 years of darkness and set out once again to rebuild their kingdom together. 

But yeah. Zelda was such a cunt, right? 

I mean, you can’t please everyone. That’s just to be expected. People are different. People have different attitudes and values, and like and enjoy different things, so there’s no piece of media that everyone will have the same thoughts and feelings on. It’s like how on the Nintendo eShop, BotW for the Wii U has 4719 five star reviews… and 21 one star reviews. You can’t please everyone. But again, jesus christ some people are just ready to violently hate Zelda for having extremely well developed character flaws and a rocky start to her relationship with Link that was the result of both of their individual issues clashing and preventing them from connecting and understanding each other even though they both felt nearly the exact same way. And even if you want to insist that everything bad about their early relationship was 100% Zelda’s fault alone, I wonder how Zelda could possibly make up for it… maybe putting in the effort to develop a very positive relationship with Link, saving his life just as he had saved hers, and spending 100 years in Ganon Jail would be enough to make up for it? 

…nah. You’ve got to imprison yourself for at least TWO HUNDRED years to make up for telling someone to stop following you one time. Totally. 

me: *wrote a meta about victor a few days ago*

me: *writes another meta about victor fucking immediately*  

me: ok 

I’ve been on a hell of a writing kick lately so here we are. I addressed this sort of in my last post about Victor, but I REALLY want to give it it’s own post so without further ado, let’s get into this.

The topic today is self-worth. Or, how Victor’s and Yuuri’s concept of themselves is the same yet drastically different. 

Yuuri is incredibly easy to address because his expression of anxiety and self doubt is incredibly stark. Also, we get to be privy to his thoughts more than any other character’s, so pretty much everything that directly bothers him we already know about. Yuuri is a perfectionist, he doubts his choices, his abilities, his worth (not just as a skater but as a person), I think he believes himself to be plain and not particularly attractive, but that’s more speculation on my part based on his chronic anxiety. It’s an Anxiety Thing™. 

(If you’d like to see more extensive thoughts and evidence about Yuuri’s anxiety, I wrote a thing here to backup my statements)

Yuuri is also rather expressive, while Victor just, isn’t really. 

Sure, he’s goofy and bubbly, but he hides behind walls of pleasantness and restraint. I’m sure it has to do with media training, considering how long Victor has been in the public eye. 

Anyway. 

What I mean to say here is that Yuuri and Victor experience two different facets of self doubt. Yuuri can’t recognize his abilities, doesn’t believe in his own potential, can’t accept his achievements, etc etc. But I think Victor can do all those things. Victor knows his skills, he knows he’s essentially the best around, he knows he’s attractive and sought after. Victor knows this and can accept it. Victor’s biggest issue is his belief that if he doesn’t keep up a mask, he’s unlovable. 

I think it’s been implied that Victor isn’t close to many people at all. When the video of Yuuri skating his routine went up, Victor seemed to easily jump on the next plane to Japan. He had no qualms and was clearly excited to leave. It’s been suggested in multiple fics (one off the top of my head being pt3 of Even Ice Gods Can Melt…what a fucking amazing little series, please go read it) that the only things in Russia Victor felt truly attached to were Yakov and Makkachin and Victor took Makkachin with him…

He interacts with several people in the skating community friendly enough (Stephane in ep12, those 3 girls in Russia Jackets in ep4), but the only person he seems to be friends with is Chris. They seem to know each other well and clearly get along wonderfully. 

We don’t really see Victor interact closely with others other than Yuuri, Yuri, and Yakov. Yakov seems to be a father figure while I think Victor views Yuri as sort of a younger brother. However, he still runs out of the country, essentially forgetting about Yuri, so there you go. 

Right, so. Victor isn’t close to many people. Humans are social animals, we need to have frequent, positive interaction with others to maintain mental–and, subsequently, physical–health. If you don’t get these interactions, it’s easy to form misconceptions about yourself. Such as, if I can’t get close to or speak to others, there must be something wrong with me, right? Or, no one knows what I’m actually like, and that’s probably for the better. 

Both Yuuri and Victor struggle with the idea of love and support. Yuuri, as he says in ep5, couldn’t feel the love and support around him for a very long time. Victor, as he says in ep12, felt that he had to work completely alone to advance himself. I think this implies that Victor deliberately pushed people away by keeping up this pleasant mask and never allowing them to see in any deeper. 

Yuuri’s distancing is incredibly physical (actually avoiding people, literal pushing, curling up, etc.) while Victor’s is more emotional (he doesn’t physically avoid but exclusively emotionally walls off).

I keep coming back to this mask of publicity pleasantness. It’s what got me thinking about this idea in the first place. In that Victor meta I linked to up there, I talked a bit about the beach scene, among other things. Victor names off a ton of options to gage what Yuuri wants him to be. It doesn’t occur to Victor to be himself until Yuuri asks him to. It doesn’t occur to Victor that he could be desired as himself. 

He has this media image that people are accustomed to: handsome, elegant, playboy, pleasant, a gentleman, etc. This is what Victor is liked for. He probably hasn’t dropped that persona–at least for an extensive amount of time–in front of others for a very long time. It occurs to Victor to be whatever Yuuri would like, and it doesn’t cross his mind that Yuuri just likes him

I love Victor and his character arc so damn much. Really looking forward to this movie–whenever it’s coming out–to see if they look further into this insecure side of Victor. 

(I feel like this post is just me rehashing stuff but like I really adore how Victor is written and idk how to shut up)

anonymous asked:

I like Mary. I think she's awesome. I don't see why she has to be evil.

Oh, boy, okay.

Listen you can like Mary all you want – I loved her too before the fucked up her entire story arc – but her entire arc was building up to be a villain, and a badass one that was going to go down with a fight. 

I’m REALLY not trying to be pedantic here, Nonny, but asks like this force me to pull out receipts, all of which I’m sure you’re not going to read, because who likes to be proved wrong, but I digress. I always end up sounding more harsh than I am when all I want to do is educate you on my perspective and what the narrative is teaching us.

THAT’S Why she’s a villain. When a character kills the title character of a show, they are coded as the bad guy unless they do a redemption arc that actually is a redemption.

Mary had NO redemption arc AT ALL. Even in S4, Mary is STILL manipulating and emotionally abusing Sherlock and John against each other with her fucking creepy-assed DVDs and her belittling of John in T6T. She still runs off to go do her little assassin things and still lied and manipulated everyone. And I know the argument is going to come up, but Mary’s gunshot was NOT a redemption. A redemption arc has the ex-villain doing a good deed and being genuinely sorry for their past actions. Not ONCE Mary has ever apologized for any of the shit she put everyone through. All of it was a plan, especially if she had creepy DVDs made FAIRLY RECENTLY (you can tell because of the hair style) to send out to people. Also:

YOU ARE EVIL IF YOU ACTIVELY OR POSTHUMOUSLY TELL SOMEONE TO GO KILL THEMSELVES.

That and Mary’s entire death scene was RIDICULOUS and completely contradicted EVERY rule that was established in this universe only 2 episodes prior on how characters die.

Nonny, Mary’s character arc is one I have been passionate about for many years, even before I was a Johnlocker, because her character was fascinating to me, and helped me understand the psychology and make sense of events that were happening in my life at the time. Right up until TAB, Mary was being coded as the next Moriarty. For some reason or another, Mofftiss decided to turn her into an “assassin with an heart of gold” and failed spectacularly.

If Mary truly was good, she WOULD HAVE TOLD JOHN FROM THE BEGINNING WHO SHE WAS, OR AT LEAST TOLD SHERLOCK SHE NEEDED HELP. HLV would have not played out as it did. Instead deciding that killing Sherlock was her only option so that she could continue to manipulate John, since she knew he was most malleable when he was grieving Sherlock.

You can read Mary’s character however you want, I could care less… well okay apparently I do because of this reply… But please, seriously consider that what became of her character really made no goddamned sense to the narrative arc the built for her and quite frankly really lazy writing. Just because she is a woman, doesn’t mean that she is nice and sweet and not abusive. Excusing her of her brand of emotional abuse and manipulation is really sexist.

People thought my mother was a nice person, too.

The things that sucked about season two

Ah yes, the most fun list of them all. Now while there are definitely more than just five things wrong with this season, we’d be here all day if I put more. So we’ll stick with five. All righty, lets go! (Fair warning, this one is a bit longer as far as words go. Just a heads up.)

5. Sanvers: Before you grab your pitchforks, hear me out. It’s not the the relationship itself that I have a problem with, that aspect is fine. It’s more of how they handled it. To clarify, when they announced that Alex was gonna have a girlfriend this season, they treated it like it was the second coming. I mean everyone was so hyped, but when you get down right to it, it’s honestly nothing more than just a regular romance arc. Don’t get me wrong, I really liked it at first. I thought Alex coming out was very well handled and well written, Chyler and Floriana have really good chemistry, and their scenes are nice. But I just felt it didn’t add anything significant to the story. And before you say “oh well it gives Alex someone to love and lean on”, we’ll get to that later. So yea, good relationship, just overhyped. Hence it’s the least of the problems I had.

4. James as Guardian: I’m not gonna lie, this one I’m a little biased on. As I said in my previous list, Im an enormous Superman fan. So that means I have a fairly strong image of Jimmy Olson. I’m not trying to piss on Mechad Brooks, he’s not bad, I’ve just never had much of a Jimmy Olson vibe from him. I mean Jimmy is supposed to represent the Everyman, the little guy. He’s cool because even though he’s just this average guy, he’s best friends with Superman, that is really inspiring. And instead we get this mega hunky, Rico Suave type guy who refuses to go by the name Jimmy. Ummm, ok….. Though I will admit, James actually did grow on me through season one. While it wasn’t my image of Jimmy, I did learn to like and respect this version of the character. But once he became Guardian, that’s what finally pushed it for me. Once again, what does it add to the story? I mean once in a while we’ll see him beat up some bad guys, he’ll help out the team every now and then, but that’s pretty much it. And it just came completely out of nowhere too. I mean he all of a sudden knows martial arts and wants to be a hero? No build up, no hints, nothing. Just slam, bam, thank you ma'am, and now I’m a vigilante. And the funny thing is, James has proven that he can be just as much of a hero just by being himself. Heck, I’d say his more heroic moments are when he’s not Guardian. His scene where he brought Marcus out of his trance was easily one the most powerful scenes in the show, and he achieved it just by being himself, no mask needed. It’s just too random, and too pointless if you ask me.

3. Snapper replacing Cat: My biggest problem with this was the fact that they tried to make Snapper a replacement for her, and they just made him annoying. I mean I understand what they’re doing, he’s being a jackass so that Kara can mature as a reporter. I mean the idea itself isn’t horrible, and it is effective to Kara as a character, there is just one little problem with it. They already did all that crap in season one with Cat! It was just repetitive and lazy. Why do mentor figures always have to be giant dickwads? It’s been done a billion times before. Why not have Snapper be a nice guy? It wouldn’t have taken away anything. I speak from personal experience when I say, you can give creative criticism without being douchebag about it. At least when Cat was being a bitch, it was still very clear that she actually cared about Kara and wanted her to grow and succeed. With Snapper, what did we get? “At a girl Danvers” and “I was rooting for you”. Riveting, isn’t it? It just seemed like a wasted opportunity. We could’ve had a new and interesting mentor relationship, and you just threw it away for an overused cliche.

2. Lack of Kara and Alex: Believe me when I tell you, this one came very close to being number one. Kara and Alex’s relationship was easily the best thing about season one. Their relationship was the heart of the whole show. Looking back on season two, I can think of maybe one couch scene that they had (and that’s not an exaggeration, I literally can’t remember there being any more than just one). This is actually one of the problems I had with Alex and Maggie. It seems as though they’re purposely trying to separate Kara and Alex by giving them love interests. I mean having a love interest is ok, if it’s not out of character, and boy oh boy, was she out of character. I mean for starters, there is no way Alex would let Kara be taken to a parallel Earth without her, she would not push Kara to date you know who, and Alex actually ditching Kara on her birthday to go to some stupid concert? Pardon my French, but what the fuck?! What bullshit are you dumbasses playing at? I mean did you forget the entire season of character development you built up for these two? We almost never get any serious interactions with them. The only ones I can think of were when Kara thought about going to Metropolis and when Alex came out. Other than that, nothing. They never had a scene after Jeremiah betrayed them, we never even got a scene after Alex almost fucking drowned! They practically have nothing. In fact, I remember specifically when Alex said she wasn’t slipping away, I actually yelled “bullshit” at my tv screen. Cause that is exactly what she is doing. Did you forget that Alex went into a highly dangerous dream world (cough cough what should have happened in the musical episode) and flew into a space with a decades old spacecraft to save Kara??? Nope, sorry, you are the weakest link. I want them back. I want sister nights, I want couch scenes, and I want them actually communicating like family again. And like I said earlier, this one came very close to being number one. So I’m sure you must be wondering what number one could possibly be. Well to quote Nicolas Cage from ‘Face Off’: “Take one goddamn guess.”

1. Mon-El: …………Where do I begin? Let’s start with the basics. He’s annoying, he’s a terrible love interest for Kara, he’s a pathetic excuse for a superhero, he has some of the weakest character development I’ve ever seen, he takes up way too much screen time, and he’s about as charming as road kill. But why stop there? He’s also immature, and he never takes responsibility for anything. I mean, he actually had the opportunity to go back to his home planet and make the lives of his people better and thereby preventing the impending invasion of earth that would no doubt kill hundreds of humans and Daxamites alike, and what does he do? Decides to be selfish and stay on Earth where he continued to be a annoying burden. But even that’s not all. I actually described the things Mon-El has said and done to a few of my friends, and I asked them what they would do if they were in Kara’s shoes. They all unanimously agreed that they would kick his ass to the curb. Kara and Mon-El are not a good couple, at all. Their romance is awkward, cringeworthy, and a little disturbing. A relationship should be built on trust, honesty, mutual respect, and compassion. This relationship has consisted of nothing but lies, arguing, straight up vocal abuse, and more arguing. I still, for the life of me, cannot see why they are a couple. I don’t know about you guys, but if my significant other lied to me about their identity since the moment I met them, it would take more than one musical episode later for me to forgive them. And he’s always making up excuses instead of just owning up to his mistakes and actually learning. And btw, using the “he’s not human” excuse is not valid. In case you forgot, Kara and J'onn are aliens too. While yes, they’ve been on earth longer, they stretched his fish out of water storyline way longer than it needed. But for me personally, there is one thing above all that makes his whole characterization one of the most insulting comic to live action adaptations I’ve ever seen. It’s that they took a fun, goodhearted, enjoyable character, and turned him into this unpleasant, unsympathetic, unlikeable asshole. As far as I can tell, him and his comic book counterpart have two things in common, the name and planet of origin. Other than that, they literally have nothing in common. For those who don’t know, Mon-El is not the prince of Daxam in the comics. He’s literally just a regular guy. He’s an explorer from Daxam who crashed on Earth, losing his memories in the process, where he met Young Clark Kent. Given that they shared the same powers (Daxamites have all Kryptonian abilities, not just strength and speed) they figured he must be from Krypton. Hence Mon-El decided to give himself that name (his real name is Lar Gand). But when exposed to lead, he obtained lead poisoning, gaining his memory back in the process, and Clark put him in the Phantom Zone to save him. He was then released by the Legion of Superheroes in the thirty first century, they cured him of his lead poisoning, and he joined them. Now tell me, does that backstory sound even remotely close to the one in Supergirl? No, not even close. I mean, I don’t know about you guys, but I would’ve much rather had the comic book version of Mon-El than whatever Supergirl did. And to top it all off, we see the biggest part of this seasons recurring theme, it was just wasted potential. Honest to God, I mean this when I say, Chris Wood would’ve made a good Mon-El had they stuck to the proper storyline. And bless his heart, it’s clear Chris is trying his best, but it’s still just not working. We could’ve had a fun storyline. I mean Supergirl acting as a mentor figure to a young superhero, a superhero who has never been in live action form that has all of Superman’s powers. It had serious potential, it really did. But instead it was wasted and botched up in place for a stupid romance that should’ve never even been an idea in the first place. All of this is why Mon-El is easily the worst thing about season two.

Master List of ML Crack Posts: #1

 As some of you may know, my memory sucks.  This list is as much for you guys as it is for me ᕕ( ᐛ )ᕗ 

I’ll be updating this thing periodically.  I’m putting the links under a “read more” so the updates will show up in case someone wants to reblog this.  I love it when something is reblogged (especially when I can read the funny tags), but y’all are random af.  You give me a good laugh on my rough days and I love each and every one of you ^ω^

Have fun down the ML rabbit hole of crazy (after the cut)!:

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love.exe | ch 3

Originally posted by withjunhui

chapters: 1 / 2 / 3

summary: it’s been close to two weeks since jun’s moved in with you. he’s acting more human as time quickly progresses, but he soon learns the emotion of boredom.

characters: jun/original female, svt members, members of pristin

genre: FLUFF! all the fluff in the world

word count: 2.3k

a/n: yall got me to 697 which is good enough. probably reach 700 not too long after this anyway. love! (also chapters will be put under read mores from now on unless i say otherwise)

Another week and a half passed, and Jun quickly became used to the routine of you being gone for a few hours. When you weren’t relaxing, you were helping Jun with his ‘human research’ as the two of you had begun to call it.

You’d noticed that over the past few days, Jun had begun to develop more of a solid personality, but he retained his naive demeanor. He’d begun to banter with you more often, being able to speak out for himself at times, as well.

He never really ate still, but it seemed not to be a problem, since his framework didn’t let him understand the sensation of hunger, sickness, or thirst. 

Only problem was, he hadn’t left the apartment since you first found him at the convenience store.

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An unnecessarily deep analysis of the string motif in Kimi no Na wa

I really need to write about this.

Written on the spot. Some research might be nice but aint nobody got time for that. Also I’ve only watched it once so my memory might be dodgy.

Please note this is primarily an analysis for my own personal enjoyment, not a review. Also the views in it are purely my thoughts and opinions

SPOILERS 

Kimi no na wa is a friggin amazing movie. Beautiful artwork and solid characters aside my favourite thing about the movie is its brilliant storytelling. And I am going to deconstruct it through the string motif rn because I feel like it.

The plot for Kimi no Na wa is basically the red string of fate, but reimagined and extrapolated in a very creative way. The red string of fate connects two individuals and brings them together romantically but here it is not only geographical boundaries that are transcended, but time itself. String itself takes on multiple meanings within the context of the film. This is summed up best by Mitsuha’s grandmother’s quote, which I cbf looking for rn. Rather than string, though, the emphasis is on the term “musubi"結び. The term we use for knotting thread also means connecting/linking/binding. You can also use it to refer to tying up your hair or fastening something. It also means the end. This (conveniently) flexible term is the basis for the whole story and you see this in almost every aspect of the movie.

The start of the movie is a bunch of events told in a pretty confusing layout. In addition to the main characters swapping bodies, some of the events aren’t even in chronological order. This was evidently intentional, not only for dramatic purposes but I believe also for structural reasons.

The film is set out like a bunch of loose threads starting with seemingly unrelated events: There’s a rare comet appearing in the sky; Mitsuha and Yotsuha make kuchikamizake; Mitsuha and Taki swap bodies…But as the film progresses, just like the weaving of individual strands to make a cord, the pieces start to come together. I think the moment this truly becomes evident is right after Taki drinks the kuchikamizake. This is also the moment Taki and Mitsuha’s worlds truly intertwine.

Mitsuha making kuchikamizake binds a part of her soul to the sake. Mitsuha and Taki swapping bodies are a spiritual connection. This act binds their timelines together. The foundations of human relations, most notably love, is also based on the same concept. The film takes the motif of string and layers it through the connections of multiple events through musubi.

But what I feel truly makes this film brilliant from a storytelling perspective is the creativity employed in extrapolating this motif, especially in regards to the comet and the hairstyles. 

The way I see it there are actually only two things that connected Mitsuha and Taki before the body swap. One is the comet. Three years ago Taki witnessed the comet that killed Mitsuha with his own eyes. The other is Mitsuha’s hair cord which is something like a time paradox. Mitsuha went to Tokyo to meet with Taki three years before he knew her. She hands him the cord in her hair and dies the next day but Taki kept her cord wrapped around his wrist for three years.

I’m going to start with the comet which is actually quite a complex symbol. I think everyone will interpret it differently so here’s my personal take.

My initial impression of the comet was something like a shooting star, because it granted Mitsuha’s wish to be reborn as a "handsome Tokyo boy”. Before watching the movie I thought the body swapping would be a miracle only possible while the comet was visible. When Taki and his senpai went to the Nostalgia exhibition at the museum on their date, they saw an aged photo of Itomori. That was my hint that Mitsuha was from the past. I didn’t expect them to be only three years apart though. I thought they would be a literal lifetime apart but then romance would have been near impossible without some bs miracle. Suffice to say, there was no miracle. Instead there was a goddamn tragedy.

The film’s explanation for the body swapping was that it was all to prevent this one disaster. Tbh that sounds a bit too far fetched for me. Instead I like the interpretation of the comet as an extension of the string motif.

When Taki learns the truth he attempts to turn back time by drinking the kuchikamizake. What follows is my favourite scene in the whole movie and it starts with a wall painting of the comet turning into a piece of string. With the visual connection I could then see the metaphorical connection. The comet is another form of binding the two main characters. The comet is closely tied to Mitsuha’s ‘world’ but Taki also witnessed the comet the day she died. Thus their worlds were connected. From a romantic standpoint the comet allowed two individuals to transcend time to be together (red string of fate parallel). But by killing Mitsuha the comet also destroyed the relationship it brought about. I think we can connect this to how the town of Itomori was made from a comet a thousand years ago but another comet ends up destroying the town and killing Mitsuha. Because of this I personally also think the comet represents time. Destroying what is created is basically time itself. Time is musubi. (Additionally, by overcoming the comet i.e. saving the town, the main characters overcome time and can finally be together, because Mitsuha’s lifespan is extended. You can see this as another take on the red string of fate.)

Mitsuha is metaphorically and spiritually saved by a string. I think it is important that in the timeline where she dies she is not wearing the cord in her hair, because she gave it away to Taki who she met in Tokyo the day before and who does not remember her. Her cut hair has multiple meanings. Originally I thought it was a sign of her giving up on Taki because he went on the date with his senpai (Tessie associates haircuts to breakups and I do too, at least in anime). Then I realised she cut it after she went to meet Taki and found out he didnt recognise her. While the “breakup” haircut interpretation still stands, ultimately I think she feels betrayed which is why she gives up the one thing she believes in, her connection to him, represented by the cord. This also becomes linked to her name, which she shouts at him as she leaves the train after throwing him the cord. If I were to continue with the red string anecdote, this is where the string is cut, fate abandons the couple and Mitsuha dies.

But it is the same string that saves her. Because Taki kept it for three years and it is how he remembers her even if he doesnt know her name. Once he learns she dies everything from her diary entries on his phone to her name in his memories disappears. But the cord doesn’t. And he passes this cord to short hair Mitsuha when they finally meet at twilight.

I’m going to digress for a bit to explain why I find this scene so important. The only time Mitsuha does not have the cord in her hair is when she is sleeping, performing the ceremony, the first time she swaps bodies with Taki, and of course right before she dies. The cord is a very obvious symbol of musubi. I also think the fact it changes form throughout the film is important. At the start when Mitsuha wears it she always puts her hair in a complicated bun with the cord in it. When she swaps bodies with Taki who cant make complicated hairstyles he changes the form of the cord by wearing it in a ponytail (though initially he did not wear it at all and made Mitsuha looked “possessed”). The hairstyle was an instant way to tell who was in Mitsuha’s body, and also became a representation of their relationship.

The cord starts to change forms drastically when the pair’s relationship takes a nosedive the day before Mitsuha dies. She takes it out of her hair and the cord changes from a hairtie to a wristband/bracelet. The form of “musubi” changes, from “doing up one’s hair” to a spiritual connection between the two. This is one way Mitsuha manages to live on, because just like the kuchikamizake, the cord is a part of her soul now.

Taki returns Mizuha’s cord when they finally meet. She has cut her hair but wears the cord as a hair decoration anyway. The red string is restored and its changed form represents a new step in their relationship. Throughout the film Taki and Mitsuha have had to compromise on each others’ lifestyles. Mitsuha’s new appearance seems to be a culmination of this: the boyish haircut coupled with the hair cord. She also gains Taki’s courage, seen when she confronts her father in a very similar way Taki did in her body previously. (Taki also experiences a similar change but it is not as pronounced. As far as I know he just got “kinder”.) This is musubi because their two souls have actually intertwined. From a romance perspective, I guess this is how couples change each other for the better.

And what happens after is classic red string of fate. Interestingly Mitsuha’s final hairstyle is a half ponytail. Analysing any farther would actually be overkill though so I’m just going to leave it as a design choice.

I don’t think I’ve conveyed even one tenth of what I actually wanted to say about the film. It’s so rich in symbolism just analysing it in my head was a ton of fun. Best film I’ve ever watched in my life. Definitely want to watch it again.

SO LET’S TALK “WHO’S THE TRAITOR” SOME MORE

If you’ve never read my initial theory post, please do yourself a favor and check that shit out. It is a foundation for the theory that, regrettably, was missing a lot of information that I wasn’t able to get to until I was able to do a reread of the series, plus I wanted to wait for the series to develop a little further. The original post was made right after “Deku vs Kacchan 2” was released, so we’ve had about 30 chapters of development. You might be wondering how on earth 3k words isn’t enough to make my point the first time, but here I am yet again! 

I might sound crazy, but believe me when I say… I am the MOST serious. 

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A Look into Amanda’s Vision, The Princess Advert and IDW Comic Canon: Mona Wilder revealed? (Theory Post)

Theory:

“Mona Wilder” is the seventh Black Wing subject alias MOLOCH, trapped within the squeaky ‘stress toy’, and currently communicating through dreams and commercials.

She is “The Princess” in both the commercial seen in the main series, and possibly the insane ‘Princess’ child in the IDW Comic Series.

She is who persuaded Bart to get to (and possibly to kill) Dirk Gently.  

Evidence:

Amanda’s “vision” in S1 E3.

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hi, this probably isnt the usual kind of submission you get, but i wanted to share a cool thing i noticed with this blog.

i remember back on your old blog you made a few posts about fictional wolves/wolfdogs and how they very rarely seemed to fit the bill as wolfy looking, esp not balto who is unfortunately the only cartoon wolfdog that comes to mind for me at all.

i think i found a pretty good example of a fictional wolf that displays some very recognizable wolfy traits, and that’d be midday lycanroc from pokemon sun and moon. one of the things i noticed right off the bat that are specifically more visible in its 3D model and animations, is that it was designed with several actual wolf traits in mind.

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imean, obviously theres a lot of creative liberty here seeing as its a wolf based pokemon, and not actually a wolf at all, but physically i think its one of the more convincing cartoon wolves i’ve seen. more noticeable w the 3D model is its narrow chest, head being held lower/appearing lower due to the mane and never actually raising higher than it is shown here, the thick mane itself over neck and shoulders, narrowed eyes, and long legs.

coloration isnt wolfy at all, perhaps simplified without a very high contrast between the colors, that’s cool, but not showing any blending. and blue eyes, with some other more obvious anatomical alterations such as the horse tail. but again, it’s a pokemon. to explain some of that also, if you wanted to i suppose you could consider it a wolfdog, since it’s pre evolution is entirely dog in appearance.

overall it registers pretty well as lupine in my head, i personally think it looks like the team actually did study the anatomy of real live wolves to recreate it in a simpler stylized form. what do you think?

I actually love that you shared this because how “wolves” are represented in games/movies/media is something that I think about quite often! The only issue I really have with getting super into these discussions is that they’re super opinion based. I mean, you can always weigh which representation has more actual wolf traits as being the better one but I don’t know if that’s always true when it comes to things with this much creative liberty.

I like the idea of Lycanroc being a wolfdog with how doggy the base evolution is. And all the wolfy traits you pointed out are definitely visible and are the same ones I found myself. Blue eyes on “wolves” will always bother me but, it’s a game, what can do you?

Here’s the adorable and doggy dog base evo of this guy:

Talking about wolfy video game characters just makes me wanna talk about all the others that I really like. We’ve come sooo far with animals in games and I just..I love it so much.

Here’s my all time current favorite wolf in any game, Sif, The Great Grey Wolf, from Dark Souls:

Sif was the companion of Sir Artorias, the Abysswalker. After Artorias passed away, Sif became the guardian of Artorias’ grave in the Darkroot Garden and wields Artorias’ Greatsword. Sif also uses some of his former companion’s moves during combat. All in all, Sif is very well done and looks about as close to an actual wolf as you could in a game when DS came out. Obviously, wolves are not this size and don’t go around swinging greatswords in their jaws but it makes for a really neat boss and character.

Another really cool wolf character, and one that’s much more of a fantasy wolf, is Link’s wolf form in Zelda: Twilight Princess:

Definitely a lot of doggy traits (shorter muzzle, round paws, defined markings, pointed ears) but it is a totally different world from ours so it’s hard for me to be too picky about it.

And then you have the reincarnated sun god Amaterasu, currently residing inside of a statue brought back to life, Okami Amaterasu:

The statue was of a wolf name Shiranui that saved an entire village from a curse brought upon them by a demon named Orochi. The games is a telling of one of the legends surrounding Susanoo-no-Mikoto, who is the brother of Amaterasu, the goddess of the Sun, and of Tsukuyomi, the god of the Moon. Ammy is definitely a pretty decent representation of a white wolf, not many complaints really. Okami is also a simply beautiful game and I highly recommend it to anyone and everyone who likes animals, nature, wonderful storytelling, and beautifully arty graphics. The game was released for the PS2 but it was incredible graphically for when it came out, at least I thought so.

Since I’ve only shared wolves so far I feel it’s only fair that I share a couple of my favorite dogs as well! There are many dogs in the world of Okami and they’re pretty adorable but I think Dogmeat from Fallout 4 will always be my favorite video game doggo.

I can’t tell you how many heart attacks I had before I learned he couldn’t die. I died so many times trying to ensure he’d be alright… >_>

And one last “dog” that I love is D-Dog from Metal Gear solid 5. Okay, so…I guess this one is weird, he is most definitely a wolf but he’s being called a dog and is called one throughout the entire game. So it’s the only case I know of with completely backwards misrepresentation of wolf in the media. He’s wonderfully animated though.

He’s also an incredible companion to have on the battle field as he wields a combat knife and can take out targets for you.

He’s pretty much the most badass wolf I know of in video games. Well, besides Sif, I don’t think D-Dog could take on that monster and come out on top.

Well, this post turned into something much longer than I originally planned but it’s fun to share personal likes sometimes! Thank you again for your submission!

LET'S ANALYSE : Yellow Diamond's song

The new Steven Bomb is crazy story-wise. So much is revealed, especially on the Diamonds, and we get an inside look at some of the aspects of Homeworld’s society. The last episode is particularly rich in terms of background and character development.

Let’s focus on the core scene from That Will Be All : Yellow Diamond’s long-awaited song.

Rebecca Sugar said she wanted to explore how different individuals deal with grief. Blue grieves by constantly remembering Pink through the Zoo which she keeps active as a reminder of her presence.

Yellow tries to use her song as a way to bring Blue back to her duties and make her leave the old memories behind. But the entire song defeats that purpose. Yellow is equally affected by Pink’s absence even though she expresses it very differently.
Their difference of personality is actually first conveyed through their outer appearances. Blue is tear-shaped, even her eyes look like they are falling, making her personality lean towards melancholy and lingering feelings.
Yellow is much more guided by actions hence her neatly squared shape. Their ships’ form capture this difference quite well.

The first part of the song is devoted to Yellow’s refusal of feeling because it is an obstacle to action : her song is mainly constituted of questions leading to the most important one : What’s the use of feeling, Blue ?

Remember : in Homeworld’s vision, what you are and what you are to do in society are the same thing.
The « use » is at the core of the Diamonds’ society. The idea of having a purpose in the gems’ society has been addressed several times, especially by Rose : “When a gem is made, it’s for a reason, they burst out of the ground already knowing what they’re supposed to be and… that’s what they are forever” (Greg the babysitter).

This is also the issue Amethyst deals with back in Steven VS Amethyst  “Hah…I know what’s wrong with me. I’m not supposed to be small”.

Hence everything needs to do something, if there is no result then there is no use. The equivalence between the use and the being is quite explicited in the song :

A army as a use, they can go and fight a war
A Sapphire has a use, she can tell you what it’s for
A Agate terrifies, a Lapis terraforms
: here the link is even stronger because of the direct association of the type of gem and the verb of action which qualifies them.

It shows just how enclosed the society is in its very foundations. But it also means that the Diamonds are not free. They could have been tyrants doing whatever they please. But no, the Diamonds are bound by the exact same rule :

Where’s their Diamond when they need her, Blue ? : this is a clear reproach.
You’ve got to be a leader Blue !


We clearly see the similarity between an Agate terrifies and you’ve got to BE a leader, Blue. This casts a slightly different light on the Diamonds.
Of course they are still tyranical villains and Ruby is there to remind us for that (”I can’t believe all that stuff about Blue Diamond being merciful! She’s a shatterer!”, Gem Heist.)
Nonetheless we can’t ignore the fact that the burden of their own society system still weights on their shoulders. This allows a possibility for the future. Now the Diamonds do not know they are being seen by Steven and Greg, and through them, by the viewer. This is the perfect configuration to expose their flaws and weaknesses. This is where Yellow’s purpose is defeated. By pondering on feeling, she herself remembers Pink and grieves even though she hides better than Blue. The central rupture is here :

Yes of course we still love her and we’re always thinking of her…

The we means she identifies with Blue, she shares her grief. This first recognition is immediatly followed by a return of action and how feeling blocks action :

But now there’s nothing we can do so tell me what’s the use of feeling Blue ?

Yellow finally admits her feelings at the end of the song :

Oh yes of course we still her and we’re always thinking of her
Don’t you know
I miss her too ?

We clearly see the shift from the we to the I, allowing Yellow to sing in her own name. This progressive acceptance of feeling is very well emphasized by the music : the sudden speeding up at the end reflects how Yellow is trapped in her own song and overwhelming grief. Yellow is not only expressing her pain through her words, she also feels it physically, through her voice and posture.

She then repeats what’s the use of feeling for herself, trying to convince herself.

The disposition of the lyrics shows that Yellow is not quite ready to leave the past behind despite what she says :

Start looking forward and stop looking back !

If Yellow really didn’t understand feeling, the two segments would have been reversed. The fact that she ends on looking back precisely triggers her pain.
 
While she tells Blue that feeling is basically useless for their role, she herself expresses feelings. This is already quite apparent from the chorus and title : what’s the use of feeling, Blue ? If you understand it with the comma, it’s about the refusal of feeling but since it is sung, you hear at the same time what’s the use of feeling blue ? which accepts the very concept of feeling in the first place.

What is actually quite paradoxical is that Diamonds are actually capable of feeling when the humans from the Zoo don’t even know “what hurt is” (The Zoo). Diamonds seem more human than the humans. This « flaw », when a Diamond is supposed to be perfect, may allow assomptions on a possible way to treat with the Diamonds other than fighting, since shattering them is out of the question in the Steven era.

Another thing this song stages is the role of the Pearls. It has been mentioned a few times now that Pearls act as servants in Homeworld and our Pearl’s poor treatment by Holly Blue during the episodes reflects it. Now the Diamonds’ Pearls seem quite different. They act like some kind of confidantes as you may find them in old plays. This type of character usually is the servant of the noble or royal person and allows them to relieve their inner thoughts. It is quite apparent in this scene because of Yellow taking them in her hand and them actually singing together : they support the song and accompagny it with their dancing.

So, nice try Yellow but don’t we all know that singing is always about feeling in SU ?

PS : The lack of any mention of White Diamond is unsettling…

callout for kingwander/jollywander/fuzzywander/heroicwander/wvander

hey all my friends have agreed i should do this so. Here We Go!!!

and also, i think this would be a good way for me to compile my thoughts and sort everything out since most of this still feels kind of like it happened in a blur.

i’ll keep this post updated with his current url so if you’re not sure what it is just come back here. current url: 00903902-0df98e9idko40t4945

please reblog this

tw: abuse, suicide mention, faking mental illnesses, nsfw, self harm, slurs

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Part 1 - Down the Voltage Rabbit Hole

Lately it seems that everything I write ends up never seeing the light of day so I wanted to write something fun, that might actually get read. If you guys like it I’ll continue the story. 

Let me know what you think!


I woke up, eyes bleary, head pounding in a hospital bed I’d never been in, but could have sworn I’d seen before. As I rubbed my eyes, I racked my brain to try and remember how I’d gotten here, but could only come up with fragmented moments on the subway platform. It was a fair assumption to say that I’d passed out. Something like that had happened to me once before, and upon coming to had left me feeling very similar.

“It’s good to see you’re up.”

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Samsara [Part II]

General Disclaimer


Sakura might have quelled at least some of Sasuke’s fears, but she isn’t as confident as she pretends. The idea that the fetus inside her is connected to as dark and tragic a past as Indra Ōtsutsuki is worrisome, but at the same time…

She has to admit she’s curious.

That doesn’t stop her being relieved when the dreams inexplicably stop bringing her to the strange beach. Her nightly visions become vague again, bursts of colour and emotion, occasionally faces that are familiar to her but inconsequential. She still experiences the frustrating moments of abuse, attacks from a faceless father and sister; these encounters paralyse her as she sleeps, and leave her irritated upon waking. But overall, there is such a vague and hurried quality to these that she suspects she is experiencing time passing.

This pattern continues long enough that it’s almost a shock when she falls asleep one night and finds herself once more in a completely lucid, detailed dream.

She is sitting uncomfortably at a table in a richly decorated room, and the dim memories Sakura can access suggest that her attendance here is rare, perhaps even only occasionally required. Sitting across from her are two people whose presence not only disheartens her – the small, curious part of her had been hoping to meet Indra again – but also fills her with overwhelming wariness.

“There’s talk among the court of a newcomer,” Father says as the servants place their meals before them. “A man of great talent, said to be the son of a wise sage from the East. They say he can call lightning from the sky and breathe fire like the dragons of old.”

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anonymous asked:

Why is that everyone on the YOI fandom throws a fit when somebody suggests Yuri on Ice is a yaoi? Because honestly speaking I don't see why it should not be considered as such...

First of all I want to clarify that I don’t feel myself into that group of people that throws a fit (even when I DO agree that it’s not yaoi), but I will reply to you anyways.

Secondly, I’m by no means an expertise on the field but I’ve watched enough series that fall under the category of yaoi to know that YOI is not one. The only thing that links both “genres” if you want is that the protagonist/s have a love interest on somebody of the same gender and that’s all of it.
Yuri on Ice is a sports anime since the plot revolves around the sport practiced by the protagonist/s and advances with it while everything else (in this case Yuuri and Victor having a relationship) adds to that from a secondary place. Actual yaoi series like Junjou Romantica and Sekaichi Hatsukoi to name some have the same gender relationships of the protagonists as the central topic AND are the reason the plot advances (or not).

Also being honest, something I’ve realized all of these series have in common is that sexual advances are used 90% of the time in order to resolve issues, ranging it from an uncalled-for kiss to a raw sex session because suddenly one or both of them had an uncontrollable sexual urgency idk??? That one point specifically is something Yuri on Ice took and treated in 2 whole episodes (episode 4 and episode 7) and smashed it on the floor in favor of a healthy, organic development in the relationship of two adults that love each other while accepting their flaws and respecting their boundaries.

Unlike a yaoi series, YOI is not meant to appeal the viewers obscure kinks or fantasies (like your average soap opera if you want), but to portray something organic and that people would see as achievable or #goals (at the risk that people might not find it intense enough welp they were so wrong ♥)

Originally posted by yandereatheart

Finally, here’s some things that would be different if Yuri on Ice was a yaoi series:

  • The fact Yuuri idolizes Victor would DEFINITELY benefit the later in his advances (aka Yuuri would let him do as he pleases just because he admires him, and by ‘as he pleases’ I’m totally talking about sexual stuff).
  • Yuuri’s anxiety would be played as something cute and a thing Victor would innocently take advantage of.
  • Victor would definitely be a seme, lone-wolf type character and have possessiveness issues and rage fits because of it (instead of the immature, 100% marshmallow-hearted dork we have in canon).
  • Something sexual and DOUBTFULLY consented would have happened in the onsen before the Cup of China hands down.
  • Episode 4 would have never happened (at least not in the way it did).
  • Victor would have kissed Yuuri there in the parking lot during the Cup of China without even asking, and would have done the same every time Yuuri felt uneasy instead of listening to him.
  • Yuuri would spend half of each episode aroused because of Victor.
  • We would have a hard time remembering either of them skate because each episode is full of the drama going on between them and their unresolved sexual urgencies.
  • Yuuri would either have an arranged marriage with Yuuko or be enemies out of resentment with the whole Nishigori family.
  • Yurio would have serious problems with being called ‘androgynous’ instead of using it as a personal strength like in canon.
  • The female cast of the series would be reduced to the half and the characterization of each woman would be super shallow in contrast to the wonderful ladies we have (for one thing, according to the yaoi formula Mila would probably be Victor’s ex and be a bitch towards Yuuri; Minako would be squeeing around about Victuuri all the time; Mari would ‘sell’ private data about Yuuri to Victor uncaring of exposing him).
  • The Banquet night would have ended up in sex between Victor and a beyond drunk Yuuri (and on-camera).
  • The main pairing would probably change to either of the following things:
        -Yuuri x Yurio.

        -Yurio x Victor.

    ( ^ with Yurio having an insane -and obviously sexual- obsession on the adult person of each pair and the later letting him advance).

       -Deaged!Yuuri x Victor (Yuuri would be like 18 or even less).

       -A romantic triangle between the 3 of them.
  • There wouldn’t be rings, at all, because if it’s not illicit it would lose its charm.
  • Phichit would probably be a trigger to Victor’s possessiveness and bitter personality, as in at some point Yuuri would have to resign hanging out with Phichit once or twice because Victor was too jealous.
  • Chris would definitely try something sexual on Yuuri.
  • The rest of the skaters would be background characters we could barely remember unless they do something to spice things up between Yuuri and Victor and their unresolved sexual tension.
Sherlock Holmes and Victorian Homosexuality

[This is the final post in my series on Strangers: Homosexual Love in the Nineteenth Century by Graham Robb. Previous posts can be found here.]

Dearest friends. Dear sweet ones. Dear softest lambs. Prepare yourselves.

Originally posted by sherlockspeare

Robb’s last chapter is on literature and literary references to homosexuality.

And he chooses to talk – at length – about Sherlock Holmes and John Watson.

He writes:

The following observations are not a sly attempt to ensnare the great detective in the elastic web of gay revisionism. Everyone already knows, instinctively, that Holmes is homosexual.

Well then.

If there is one post you read from this series, it should be this one.

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