i'm skipping two characters because i don't know what to do for them

beatrice-babe  asked:

I'm working on an assignment about how we could modify the way we teach Shakespeare so students understand it. In combing through JSTOR (our lord and savior) I found two articles both discussing how damned difficult it is to teach Shakespeare. Each is titled 'Teaching Shakespeare'. One is from 1942. The other is from 1893. It is 2017, and we still don't know how the fuck to teach this shit so people get it. Academic struggles all day every day and literally nothing has changed

University was a dream come true for me. I had amazing lecturers and the class had a three-pronged approach:

1. Explain the historical context of the play, how it was originally performed and how it was received

2. View different modern adaptations (at least 2-3, sometimes more, and ideally look at some from other cultures and in other languages) and compare and contrast how they interpret the same text

3. Encourage students to interpret the text in their own way. Wanna make A Midsummer Night’s Dream about two lesbians, Lysander and Hermia, running away from a homophobic society? Go for it. Now explain why you chose to do that and how you would stage it.

We would have lectures that were theory-based, interrupted by the professor playing some clips from different adaptations. Later in the week we would meet in a theatre space and work with the text physically, vocally, and have an open and honest discussion about what we were studying. We got through one play every two weeks over a 12 week period and came out with a solid understanding of each one. Extraordinary stuff.

Now, compare this approach, which is interesting, engaging and relevant to the modern era and our own experiences, to how it’s traditionally taught in high school.

You sit.

In a room.

You read the play.

You’re stuck with it for weeks and weeks.

You have no fucking clue what’s being said or why you should care. 

Your teacher then asks you to write an essay on a topic that will have some ludicrously long title that you barely understand.

You go away hating Shakespeare and viewing it as horrible and boring. 

And you completely miss what the text is about and what it can be about.

The thing that was really powerful at uni, and what we should endeavour to bring to teenage students, was looking at other people’s adaptations. Reading Shakespeare as a 15 year old, or indeed at any age, can be a struggle. It feels like you’re reading gobbledegook. How the hell are you supposed to understand Elizabethan slang? How are you supposed to engage with the story if you keep reaching for a dictionary every 2 seconds? But that’s where skilled actors and directors come into it, because these guys do the work for you. For example, The Globe theatre is a massive draw for tourists around the world. They perform plays in the original language in a way that is hugely accessible and entertaining for all people, no matter their background. They use voice, action and gesture to make sure you understand. It’s an old maxim that Shakespeare is meant to be seen and not heard, and it’s true, so let your students watch the professionals act it out. Let them watch two or three! Maybe more! And once they start to grasp the text, aided by historical context, get them up and get them speaking and performing. And if someone’s shy and doesn’t want to perform? That’s totally fine! They’re now the director, and they can come up with ideas that others will put into practice. 

Get people talking. Start arguments. Shakespeare’s plays will say something different to each different person. What is it about this text that you latch onto? Which adaptation did you like best? How do you think it should come to life? And when you assigns essays and assessments, let them write and argue about what they are passionate about. I fucking hate those essay prompts that box you in and allow no room to put forward your own feelings, which make you talk about the theme of forgiveness or whatever when you think fuck you, this play wasn’t about forgiveness at all, it was about (x).

Even with the little stuff, there’s no point just saying “so the definition of iambic pentameter is…” and moving on, you should be up there with your hand on your heart, making them tap along to their own heartbeats, ba-DUM, ba-DUM, ba-DUM, Two HOUSE-holds BOTH a-LIKE in DIG-ni-TY - great! You feel it, don’t you? You feel those 10 beats in your heart, and now what happens when you recite a line that’s slightly irregular? Sometimes you’ll get a weird line that’s 9, 11 or 12 syllables where everything else is 10, sometimes you’ll get the stressed syllable in a different place than it should be, and you can feel that as you’re reciting - it’s as if your heart suddenly started beating faster or skipped a beat, and you have to listen to it and ask - why did Shakespeare want me to stress that? Why did this character suddenly falter and slip out of rhythm? Same with things like assonance, alliteration, repetition, juxtaposition and all those others words that make students’ eyeballs melt out of their heads. Don’t just make them memorise an arbitrary list of definitions, show them what they can do.

For example: repetition in Much Ado About Nothing. Beatrice and Benedick will often choose a word or an idea and then hit it back and forth like a shuttlecock until one of them drops it. But it’s the repetition of the word heart that is most striking, and the image of Beatrice’s heart in particular. Beatrice has a “merry heart,” she has a “wild heart,” Margaret jokes she should lay Carduus Benedictus to “your heart,” Benedick declares he wants to “live in thy heart.” The word crops up close to forty times throughout the play, associated with love, happiness, sexual ardour - nice things, in other words. In the confession scene we see:

BEATRICE: I was about to protest I loved you.

BENEDICK: And do it, with all thy heart.

BEATRICE: I love you with so much of my heart none is left to protest. 

And then, all of a sudden, just a few lines later, Shakespeare pulls the fucking rug out from under us. Remember all that nice heart imagery? Throw it out the window, and listen to what Beatrice has to say about Claudio, the scumbag who disgraced and almost killed her innocent cousin: I would eat his heart in the marketplace.


Do you see that? One word, one image, one idea and suddenly it’s like the the roof has caved in. Claudio said he loved her cousin, and then he nearly killed her. And Beatrice, with her loving, merry heart, the heart that Benedick wishes to live in, says I would eat his heart. If hurting women is what Claudio intends to do with his love and his heart, then by God she will fucking pull it out of his chest and eat it where everyone can see so they know what should happen to men like him. 

Feel it, listen to it, live it. Those definitions will seem abstract and alien when you read them on the page - who cares if a few words start with the same letter? What does it matter if he repeats a couple of words? But you have to get into the text and really hear and see, viscerally, what these techniques are capable of. They should make the hairs stand up on the back of your neck. 

Historical context is another issue I won’t go too far into, but suffice to say that it’s something that deserves far more attention than it gets. Apart from anything else, it’s interesting! People got up to crazy stuff in Shakespeare’s time, we should know about the world the Bard lived in.

I apologise for ranting, but yes. Shakespeare is often taught in an inadequate or inappropriate way, and for the sanity of high school students everywhere we should endeavour to teach teachers how Shakespeare should be taught.

anonymous asked:

hey are requests still open? hope I'm not too late! first off i just want to say I love your work so much, it's always so well written and manages to lift my spirits up! second, I really love the first kiss stuff, it's super cute!! could I request one for McCree, Gabriel and a character of your choice but s/o has never kissed someone. like, ever. and they're really nervous but also really happy and just don't want to mess it up bc they love them so much!! hope this isn't too much ;v;

That’s very sweet of you to say! Thank you for the kind words! Also your request is hella cute! (I went with pre-fall Gabe btw. I hope you don’t mind!)

As for the character of my choice, I think I’mma pick Zenyatta because the idea of a first kiss with such a bot is hella cute to me.



  • He thinks it’s absolutely adorable 
  • When he leans in all close and you get all flustered and shy, his heart almost skips a beat
  • Wants to make your first kiss perfect
  • He brushes his thumbs across your cheeks and kisses your forehead first, telling you that there’s nothing to be worried about and that you’ll do just fine
  • Peppers your face in soft kisses first, partially to calm you down and partially to give you time to decide whether you’re really ready to so
  • The kiss itself is soft and sweet
  • And by a goddamned Southern sweetheart; if that doesn’t doesn’t make your heart skip a beat, I don’t know what will
  • It’s a little quick but two or three more follow it
  • “I think you did just fine, darlin’. If you still need some more reassurance we can always try again, though.”


  • Don’t worry, he’s lowkey hella nervous too
  • Kissing is his man’s weakness, I tell you what
  • Especially gentle first kisses
  • Well you tell him it’ll be your first kiss, he honestly probably grins
  • Thanks you for trusting him enough to allow him to be your first
  • He’ll hold you close with one arm around your waist while the other in on your cheek
  • After asking that you’re sure and getting an okay, it happens
  • Get ready for flying sparks motherfu–
  • It’s soft and sweet and warm
  • A little bit of a long one too
  • Tbh, your knees may or may not buckle
  • It’s that phenomenon that if someone is more anxious/nervous than you are, you get the urge to take over and Do the Thing (and do it very well in this sense)
  • After he pulls away, he probably chuckles a bit (especially if you’re clinging to him with jelly legs) and gives your face a few kisses


  • He is a very happy robo boy
  • Mildly surprised that you’d like your first kiss to be with someone who technically doesn’t have a mouth but is honored you wanted it to be with him either way
  • Tries to make the moment lighthearted and heartfelt as to keep you from getting too nervous or uncomfortable
  • Ex. -nuzzles forehead against yours- “How was that?”
  • “Zen, that’s not a kiss.”
  • “Oh! Well, I apologize. I’ve never had kiss before either, so I suppose I wouldn’t know.”
  • This omnic man is a cutie, I tell you what
  • You end up giving him a short, giddy smooch on his ‘lips,’ which he happily leans into for the quick time it lasts
  • Honestly, he might be a little nervous after the kiss
  • After all, he is just an omnic
  • He can’t exactly give you what a actual human could in terms of this type of affection
  • “Well, I very much enjoyed that. I hope it was pleasant for you as well?”
  • “It was perfect, Zenyatta.”
  • Forehead nuzzles and Eskimo kisses ensue

anonymous asked:

Hi, Rosy! I know u ship joneris, but do you want Dany to become the queen? I mean, she's really become a problematic. She was always really grey character, but lately she's becoming darker and very similar to Cersei. It seems like Cersei is just seen as a villain and Dany as a hero, but their actions are not so different:// I don't know, she was one of my favs and now I'm feeling really awful. What do you think?

Just checking. Do you think there’s a character on Game of Thrones who ISN’T problematic? 

We need to get over this idea that anyone in existence is actually unproblematic. Perfection is impossible. And perfection is antithetical to this show. The characters ALL wrestle with power, using power and abusing power. And we’ve gotten rid of a LOT of the people who have been in power and abused it. And a lot of people who tried to use it better. And now we have characters in power who have been the abused, instead of the abusers. We have characters who have been passed over and slighted because they were thought to be inferior. Bastards. Women. Slaves. Dwarves. Eunuchs. Exiles. 

But none of those descriptors are guarantees that a character is going to be a good leader. Sure, Jon is a bastard, but so was Ramsay Bolton. And yes, Cersei was slighted for being a woman and sold to a king for power, the same as Daenerys…you seem to be saying that Cersei and Dany are the same.

I high key dispute your claim.

YES, Dany is faced with similar choices, and has a great level of power that she has done some ruthless things for and with, but that you think her actions are just as bad as Cersei’s confuses and horrifies me. 

Cersei just destroyed her own town to get revenge on a few politicians and civilians who shamed her. Her own people. Who she saw as enemies. 

and yes. Dany had the urge to do the exact same thing back to her and the Red Keep. But she didn’t. 

Instead, she destroyed the army who just destroyed her allies, The Tyrells. She destroyed the booty they were taking from the Tyrells, the food, that would have supported the enemy army while starving out Dany’s army. This was a military strike, with military targets and military strategy. Not one civilian was involved. No civilian towns were harmed. No infrastructure was destroyed. 

This is WAR. Those who ride to war and kill other warriors are engaging in WAR. Is it horrifying? YES. Is it unjust? NO. Were there people who didn’t want to fight? I’m sure. But it was explicitly stated that Dickon didn’t want to kill the Tyrells because they were his friends, even the soldiers. And Jaime said this was how it worked. They chose to side against Cersei so they were massacred for it. WAR. 

Is Dany freeing the slaves just as bad as what Cersei did? Sure, she killed the slave masters. Or rather, she freed the slaves and told THEM to kill those who had oppressed them. When did Cersei free slaves? I think she just skipped to the killing. And pretty sure she was willing to kill the little people right along with the power players. Because she wasn’t fighting for justice or humanity, just her own power. 

I mean, Missandei explained to Jon about her presence. Dany freed her. And then she chose Dany as her queen and chose to serve her willingly, as did all the freed slaves who followed her. 

I missed the part where Cersei gave people a free choice in whether or not they would serve her. Pretty sure she made them serve her under penalty of death– or fear of being killed off anyway. Pretty sure that was in the narrative, too. People follow and kill for Cersei out of fear. People follow and kill for Dany because they believe in her and choose her. 

Are you equating terror with free choice? Same/same? 

Even the Dothraki. I mean. Did she come in trying to civilize them? Pretty sure she didn’t. She adopted their ways and learned their language and followed their customs and then threw up some sort of miraculous magical shit, survived burning by funeral pyre and came out of it with FREAKING DRAGONS and brought magic back to the world. Not only was the dothraki army part of what her marriage to Drogo was paying for, but then she goes on to become the living embodiment of their prophecies. They follow her, just as gloriously barbarian as ever, because they believe in her. Because she had proven to be the queen they want. 

Shoot, the only prophecy that Cersei fulfills is the one she’s trying to get out of by killing off all the beautiful young queens that might usurp her beauty and power. 

I don’t understand where you’re getting that Dany and Cersei are the same. Cersei destroys people so she can get power. Dany frees people with the power she has so they can choose their own lives.

Is Dany struggling with her birthright and feeling like she is entitled to the throne? Yes. Does that mean she’s the same as Cersei? No.

 Dany may feel like the Iron Throne is rightfully hers by birth, but she’s trying to find a way to win over the people. She doesn’t really know how to do that, so she listens to her advisors and allies.  Cersei knows that the Iron Throne is not rightfully hers by birth. She thinks she’s earned it by suffering through marriage to Robert, and because she was the mother of the kings who were ALSO not the rightful monarchs by birth since they were bastards and not the sons of Robert Baratheon at all, which Cersei knew. She also is not trying to win over the people. She don’t care about the people. Follow  her or die. Does she listen to her advisors? Only when they tell her how to kill people. 

Aren’t you paying attention to the people AROUND the two queens?  The subjects? The soldiers? The advisors? The siblings? The lovers? How do they respond to Cersei compared to Dany.  Half of Cersei’s camp has defected to Dany. Dany’s people LOVE and BELIEVE in her. Cersei’s people HATE and FEAR her. Except for Jaime, who is going to end up regretting his choices. He’s had to kill a mad monarch once, already. 

Dany and Cersei are NOT the same. Killing everyone in your town for revenge=villain. Freeing people from slavery=hero. Unless you’re the iron bank, who has an investment in slavery and likes people who pay back their gold. But, you know. That’s just perspective right? There’s no such thing as doing what is right, just doing what benefits you. Is this your perspective? Then I suppose it doesn’t matter who is good and who is evil. 

anonymous asked:

Hi! I'm the anon who asked you about Jay's relationship with Batfam in comics (thank you for your thorough answer)and since I Iike how you explain stuff,if you don't mind I'd like to ask you one more. So Im curious about the nature of Slade & Dick's relationship in comics? Cause there's this Sladin ship sailing around and I figured Slade has some kind of a soft spot for Dick or something? What's exactly going on there? I find it intriguing in a way so I'd like to know about behind the curtains:)

Hi there! I’m glad my previous answer helped you, and I’ll definitely try to do my best to advise you with this one too.

Before I get to the comics, I do want to bring up the Teen Titans series on Cartoon Network, because at least for me (and I suspect many others), it was the point where I started shipping Sladin, back before I’d ever read any Batman comics or had any real knowledge of Slade as Deathstroke.

In the cartoon Slade is an outright villain rather than an amoral mercenary with a skewed sense of honour, and he has more than a little obsession with Robin out of a wish to make him his apprentice for reasons. He taunts him throughout the first season and ends up blackmailing Dick to do his bidding in the season finale by threatening the lives of his friends. I think a lot of the shipping is down to Ron Perlman’s fantastic voice acting as Slade, but the dialogue itself is, at some points, kind of uh, yeah. It’s rather different to the comics but just watch some clips and you’ll see what I mean. He even comes back to haunt Dick a few times after the first two seasons where he’s the primary antagonist and their connection (and their similarities) are emphasised again and again by the script. Definitely worth checking out for this interpretation of their relationship alone.

Now, on to the comics. Here things are a little more varied, as Dick and Slade’s relationship has veered across various story arcs from being outright enemies to allies, to something that could be almost be called frenemies depending on what’s going on at the time, and then back again. There are so many interactions between them I couldn’t possibly remember or mention them all (I’m pretty sure I haven’t even read them all), but some notable examples off the top of my head are:

The New Teen Titans. This series is where Slade makes his first ever appearance and his first interaction with Dick and the Teen Titans.  We’re talking all the way back in vol. 1 #2 in 1980. After Slade’s eldest son Grant dies while trying to complete a contract with the Hive to bring them the Titans, Slade takes on the task himself as a way of honouring his son. It’s a very long arc that eventually concludes with the famous Judas Contract storyline (issues #42-44, which DC has recently updated and adapted for one of their upcoming animated films) using the character Terra as his spy among the Titans to discover their secret identities so he can take them down out of costume when they least expect it. Dick is the last Titan he attacks, and the only one who manages to escape him and therefore foils his plans XD But since Slade’s contract to the Hive is fulfilled by this point, he’s not interested in going after them anymore and leaves them alone afterwards (especially after his younger son Jericho becomes a member of the team). It’s a really good story arc that’s worth reading as a basis for the long history they have together, even though there’s not so much dedicated Slade and Dick interaction.

After that, Slade eventually reappears in volume 2 of the New Teen Titans series, during an arc where he and Dick end up working together across a lengthy plotline where all the other Teen Titans have been kidnapped by the Wildebeest that is much more involved. There’s a lot of complicated twists and turns that happen in the story, but also much more conversation between Slade and Dick. They actually work together really well and respect each other for their abilities, and afterwards, when Dick is seeking an outlet for his emotions over Slade’s part in Jericho’s death (long story short, it was a mercy killing as Joey was possessed at the time), Slade just lets him attack him to get that anger out, and even offers to help patch him up afterwards (Pages: One, two, three, and four) It’s interesting stuff, though the storyline itself is not so great in my opinion and the comic as a whole starts to slide in quality as it enters the dreaded 90s, but Slade working alongside Dick is fantastic.

Nightwing: Skipping forward a lot of years here to issue #80 of the original Nightwing solo series here. The basis of the story here is that Slade comes to Bludhaven to pursue a target, and it’s probably my favourite of their interactions in the comics. Let me post some panels to demonstrate why:

Slade just picks him up like a ragdoll and says “Nice to see you again.” after breaking into and sitting around in Dick’s apartment like a creeper for who knows how long. Which is amazing enough to start with, but then we get:

After which Slade asks, “So what do I have to do to keep you from interfering?”, and Dick’s reply is, “Kill me.” which Slade has already established he doesn’t really want to do. But even knowing he’s potentially sabotaging his mission by telling Dick about it, he still does so, because he respects Dick too much to do otherwise.

It’s a really good issue that demonstrates this aspect of their relationship at its core best, and I think the version of it that a lot of people (like me) enjoy most and find fascinating about them.

(Of course, this kind of frenemies thing doesn’t last, as Slade eventually becomes a genuine antagonist for Dick and the Titans again later on. They both go back to pretty much outright hating each other after Dick works to convert Slade’s daughter Rose to heroism and turning her against him, and Slade plays his part in destroying Bludhaven as a part of the Secret Society of Supervillains afterwards.)

There’s a lot more than this, of course, but for me these are the main ones XD

So, while your mileage may vary based on personal interpretation, there’s accuracy in saying that Slade at the very least respects Dick as an opponent of great skill in any continuity, and does, at some points, have that soft spot for him you talked about. A lot of the fascination for the pairing comes from the fact that they do have such a long history together throughout the comics, starting all the way back when Dick was still Robin, and the various ways in which their relationship has changed over the years. Sometimes they outright hate each other, sometimes they’re almost friends, and that leaves a lot of room for fandom to play in. Slade also counts as an alternative, anti-Batman in a way, older male influence in Dick’s life, which has it’s own interesting possibilities.

Personally, I enjoy them best when it’s a little twisted and messed up (age difference, power imbalance and the fact that they’re on opposing sides most of the time, etc.). Other people may feel differently, but I’d definitely advise reading some of the comic storylines involving the two of them, and checking out at least the first season of the Teen Titans cartoon to see where shippers of the pairing are coming from.

Potential Otome Game Idea II

…Voltage created an otome game where you’re the city’s masked vigilant.

By day, you’re the clumsy waitress at a small town, family-owned cafe. 

By night, you’re the city’s masked vigilant protecting citizens from petty crimes, and maybe even themselves. 

Superpower or no superpower? )

“Your Childhood Friend”
The head detective in charge of un-masking you has been your childhood friend since you two were in diapers. He’s always been like a big brother to you, but seeing him in action has of way of making your heart race, and it’s not just the adrenaline rush. He has come close to capturing you numerous times, but you’ve always managed to keep yourself five steps out of this reach. When you suddenly discover he has a target on his back as a person seeking revenge from an old case he had worked, you watch over him from the shadows. Catching you off guard, you find yourself handcuffed to him as he leers down at your triumphantly as he pulls you in close.

“Why do your eyes seem so familiar?”

“The New Rival”
There’s a new vigilante in town, and he keeps beating you to the punch. Is he friend or foe? One day you find a note in your work locker, addressed to your masked self. Your blood runs cold as someone asks to meet you at Midnight at the designated spot. Right on the dot, he suddenly appears before you, shooting you a cheeky grin. This is the first time you two have met face to face, having only knowing him from his blurred silhouette in the newspaper. “Who are you?” you ask, “and what do you want?” He smirks as he grabs your hand and kisses it, looking up at you mischievously. 

“What do you think?”

“The Thief”
Your greatest foe, and yet there’s something more to him that you can’t quite place. Something familiar… No matter how many times you catch him and leave him for the authority, he always manages to escape and evade custody, shooting you a wink and a kiss as he disappears into the night. It’s a re-occuring game of cat and mouse. When you find yourself injured after your latest altercation, he comes back with things to help treat your wound. Suddenly there’s an awkward side to his flirtatious personality as he helps you with your injuries. Your heart skips a beat when he looks up at your with a sense of guilt.

“This is all my fault…”

“The Nosey Co-Worker”
You’ve never gotten along with your co-worker, your personalities clashing and in his eyes, you’re always do something wrong which he’ll explain in exact details. And yet, he is always covering for you without question asked which makes you think there’s more to him than he’ll let on. Then again, whatever he thinks up is always ridiculously embarrassing, as he sticks his tongue out at your arrogantly while your boss frets over you. Finding yourselves alone one evening closing up, you find yourself cornered as he leans down and stares at you with a knowing look.

“I know your secret.”

“The Sympathetic Boss”
Extremely kind, he always accepts whatever ridiculous excuses your co-worker comes up with when you arrive to work half an hour late. You can’t help but blush every time he gives you a strong pat on the back for a job well done. He was the one who had offered you the job in a time where you were struggling to meet ends meet. For that you are eternally grateful, and harbor feelings for him from afar, because you fear the danger he may be in when you are your other self.  He has always seen your potentially, often asking with a laugh, why you stick around when you could do better, that always makes your heart ache, because this is close to him as you’ll ever be. When you come in exhausted after a long night, he pulls you aside and taking you into the break room, orders you to rest. Looking down at you sternly, you can’t help but look away. 

“What aren’t you telling me?”

@elletxt @dumb-and-dumber-with-leah @geamini @tresspadesmaid​


So by crazy popular demand, it looks like I’m going to have to make this into a story until Voltage hears our please, lol.

( What have I done… )

Originally posted by gameraboy

But seriously, I’m excited, because I started getting rather attached to my  characters the more I wrote about them, so…I guess, stayed tuned?

Originally posted by susumanga

Also, please, please,PLEASE do not use without permission. I am so incredibly happy to see your enthusiasm about this potential plot line, but characters and plot rights are currently the property of both @elletxt​ and I as as of right now, so please don’t use without asking, and definitely remember to give credit if you do get approval. Thank you so much for your understanding.

Miyu ♡

anonymous asked:

Question - which you don't have to answer - would you be interested in talking abt *how* you write? More specifically I guess how you outline/plan your fics; esp world ain't wide enough. You kind of are the president of Unrequited Pining, but how you managed to drag it out for 16 chapters and make it both the familiar rhythm of pining fic and also emotionally refreshing is beyond me. I really love ur fics and want to learn from them but am bad at understanding why what I'm reading works so well?

hi! thanks so much! i assume you mean world ain’t ready although oh man a hamilton crossover would be wild. all i know for sure is that hercules mulligan is DEFINITELY the straight guy in lavender jeans who makes inexplicable mix cds and mysteriously always knows the hot gossip.

anyway i’m gonna try to be helpful here although honestly it would be disingenuous for me to present myself as an authority on plotting. w.a.r. was the first fanfic i ever started with any serious intent of finishing, and prior to then, plot was by far the thing i struggled with most. i think the longest piece of original fiction i had ever even finished was maybe fifteen pages. in college i majored in creative writing but with a focus on creative nonfiction, because my main goal at the time was to do david sedaris-style comic essays but also in part because i could never keep fiction projects going for very long and it made me feel like a phony, like i didn’t deserve to call myself a writer

(a feeling i had all the way through college and still have now sometimes but that’s its own whole can of fish)

so anyway then i graduated in the middle of a recession with a creative writing degree and had some real rough years, until i was just like fuck it, fuck trying to make something deep or literary i’m gonna think about all the elements i love reading in fanfics and i’m gonna write the most self-indulgent fic in the entire goddamn world 

i wrote the first few scenes with no real plan for where it was going and to give you an idea of how little i knew i DECIDED ON FAKE DATING IN PART BECAUSE I HONESTLY THOUGHT THAT WAS GOING TO BE THE MOST EFFICIENT WAY TO GET THEM TOGETHER

i was like, ‘man who knows when i’ll ever write another fanfic, this is probably the only one i’ll ever really do so let’s try to make this as easy on myself as possible’



Keep reading

anonymous asked:

Hey so I known you don't particularly ship bellarke, but what do you think of the bellarke/kabby parallels? I'm only asking because I'm curious to see what the other side of the fandom thinks?

I actually do ship Bellarke!  Kabby is my #1 but I’ve always been invested in Clarke and Bellamy’s relationship.  I have very strong opinions about Kabby/Bellarke parallels and have talked about this at LENGTH on Meta Station, where @reblogginhood, my co-host and best friend, is a ride-or-die Bellarke shipper, so most of the time I feel like I have dual citizenship through Erin (and vice versa, since the Kabby fandom loves her too).  We both love both those ships, and we both love all four of those characters, just in rearranged order, and we like to yell about this a LOT.

I’ve meta’d on this before a number of different times, but I’m too lazy to go back and dig up old posts, so here goes.

First of all, if you are a Bellarke shipper (are you a Bellarke shipper? Am I reading this ask correctly?  HELLO FROM THE OTHER SIIIIIIIIIIDE), the most important thing I want to say in aid of positive fandom-to-fandom relations is that the phrase “Kabby/Bellarke parallels” has begun to elicit a knee-jerk primal scream reaction among Kabby shippers over the past few months, since we regularly find the Kabby tag full of posts that either describe Kabby as the “old” version of Bellarke, or that it only exists to pave the way for Bellarke, or that the parallels that exist (and they do exist, and we’ll get to that in a second) essentially make Kane and Abby metaphors instead of people who only exist in the narrative to shed light on Bellarke instead of being their own characters with value and storylines of their own.  Articles or blog posts highlighting the things that make Kabby special to Kabby shippers will get reblogged with someone saying “if you change the names, it’s about Bellarke!” or with lengthy meta about how Bellarke had that thing first or that the Kabby version of some particular moment or symbol or metaphor or visual cue or phrase only exists because it will become MORE important later, when it’s attached to Bellarke. 

So I’m frustrated because I love this ask, I love getting this question, I love talking about the relationship among these four characters, but also it’s hard - as you can imagine - to feel like we’re told over and over again that the things we feel make our ship, and these two characters, really special to us, don’t really matter on their own merits.  

Anyway, I’m saying that both A) so the Kabby fandom, where we are perpetually having this conversation, knows MOM’S ON IT, and B) so that you as a Bellarke shipper who seems delightful and asked a great question has some context for why sometimes other asks or posts about this - which aren’t phrased as nicely as yours was - receive a negative response or make Kabby shippers upset.  I think the context is important here, because this has been a BIG thing in our world of late and we’re all a little thin-skinned about it right now.


oh wait I found another post where I already did this STILL GONNA YELL ABOUT IT THOUGH, MY HOUSE MY RULES

Okay so FIRST OF ALL let me just real quick BLOW YOUR MIND with my Kabby/Bellarke parallels theory, which is that the REAL parallel is Abby/Bellamy vs. Clarke/Kane and everyone else has it backwards. 

I think the easy, default place most people go to when we talk about this is to contrast Kane and Bellamy - the self-doubting, tortured, wannabe martyrs who carry the weight of every sin on their shoulders well past the point of reason - with Abby and Clarke - the resourceful mother and daughter who never give up and will drag all of humanity kicking and screaming to their salvation if it’s the LAST THING THEY FUCKING DO.  And I think there’s a lot of interesting character stuff to be mined there, for sure; I think Kane and Bellamy’s parallel redemption arcs are some of the best stuff they’ve done in the whole series (until 3A Bellamy regressed back to an asshole but let’s skip past that for the moment), illustrating the way that for both of them, the Culling was really a turning point where they realized that they will forever carry the burden of having been complicit in that massive loss of innocent life (Bellamy for throwing away Raven’s radio and Kane for not waiting like Abby asked him to) which could have been prevented if they had listened to the Griffins.  It’s beautifully executed, even in S1 when these two characters have never interacted onscreen, and it ramps up even more in S2 where we see them meet and immediately butt heads with each other before in S3 developing a real partnership.  (Which then got torn to shreds.  I’m still bitter over 3A Kellamy  I’M GONNA NEED A HUG IN S4 JASON DO U HEAR ME) (I mean I need Kane to hug Bellamy, not like I’m requesting a hug from Jason, TO BE CLEAR).  And I think the mother/daughter parallels are drawn beautifully as well, especially in S1 where we see Abby on the Ark and Clarke on the ground filling similar roles and working towards the same goal, barreling through the opposition however they must.

BUT.  If we’re talking about which characters are MOST SIMILAR, then I think you CANNOT get away from the reality that the parallels are actually gender-flipped.

Clarke has a lot of her mom in her, clearly, as well as a lot of her dad.  But she’s not actually the kind of leader her mom is.  She’s the kind of leader Kane is.  Abby and Bellamy are the ones with the crowd charisma and the stubborn recklessness; Clarke and Kane are the cool-headed, deliberate strategic thinkers.  Bellamy and Abby have quick minds and no fear and will do absolutely anything, no matter how insane, to protect the people they love.  You can map, beat-for-beat, so many of the things Bellamy does for Octavia onto the things Abby does for Clarke, and vice versa.  Abby sneaking the kids out the back door with guns in the middle of the night to go find Clarke? Bellamy would do that in a second.  Bellamy sneaking onto the dropship to make sure Octavia doesn’t go to earth unprotected?  ABBY AF.  They both begin the show as people who are fiercely focused on keeping the person they love most safe, and it makes them blind to ancillary consequences.  Bellamy will fight anyone.  Abby will tell any lie.  There is no such thing as too far, when the person you love is at stake.  WE know Abby’s hope that the kids are alive is borne out by fact, but NO ONE ELSE ON THE ARK KNOWS THAT.  From Kane’s point of view, she’s being as unreasonable and reckless as Clarke thinks Bellamy is when she yells at him about the radio.  Or think about Abby sneaking Bellamy and Finn out the back door with guns to go hunt for Clarke, even knowing she would get in trouble for it.  You know who else would do THAT EXACT SAME THING in those circumstances?  BELLAMY BLAKE.  I bet they cooked up that scheme together off-camera.  So what I think is interesting for both of them is how their circle expands over the course of three seasons to change the way they are as leaders, and the ways in which their recklessness is tempered by their leadership partners. 

I’m fascinated by the relationship between Clarke and Kane, and I hope we get more of it in S4.  I heard rumblings that they go together to find Kenza, the Nightblood scout, and I’m hoping we get a lil’ dad/daughter road trip bonding, because I think they have a really strong connection and they share a similar leadership brain.  Where Abby and Bellamy are quick and passionate and make snap decisions, Clarke and Kane are more calculating.  They’re thinking in the big picture and the longer term.  Floating 300 people to save the whole Ark, and irradiating the residents of Mt. Weather to save all the Sky People, are identical decision-making processes; not everyone can live, someone is going to have to die, so how to we map out the most effective path where the fewest of my people die as possible for maximum survival?  Whereas there’s nothing Bellamy wouldn’t burn to the ground to save Octavia.  Leadership isn’t PERSONAL for Clarke and Kane, not right off the bat.  It’s about the numbers.  It’s about as many people as possible surviving.  And so sometimes you have to let the bomb fall on Tondc, because letting those people die is the only way to give your own people the chance to live, even though Abby “there has to be another way” Griffin finds that notion so appalling she can hardly even recognize her daughter in that moment.  But you know who understood it immediately, and didn’t judge her?  Kane.  Kane and Abby’s scene underground in 2x13 is such a beautiful, crucial moment in their relationship, but it’s also the moment the show really begins to lean in on this idea that Kane can see Clarke more clearly than Abby can, because she’s Abby’s baby girl and Abby is still trying to protect her from harm - including from the harm of having to make, and then face the consequences of, terrible decisions.  But Kane is the one who tells Abby not to diminish either Clarke or Lexa’s leadership skills just because they’re young.  Kane is the one who calmly talks Clarke down when they’re trying to figure out who poisoned Lexa’s drink, using the same kind of coolheaded, rational language we can easily imagine Clarke using to one of the delinquents if the shoe was on the other foot.  And so it makes perfect sense that it would be Clarke and Kane who make the strategic decision, together, that Skaikru joining the Grounder Alliance is the smartest long-term tactical decision - a notion we see that Abby and Bellamy don’t like, because they, emotional thinkers that they are, still haven’t forgiven Lexa or decided they can trust her again.

I’m really interested in where the lines end up getting drawn in S4, but it definitely seems to me, from the bits and pieces we’ve seen and heard, that Clarke has some kind of crazy-ass save-the-world plan that other people think is too reckless or too dangerous or will have too high a casualty rate, and that the group sort of divides itself into factions based on who is willing to get on board and who is resisting (or just giving up and waiting to die).  And it does seem, from the trailer, that Kane and Abby are using the same language Clarke is using.  We’ve also heard that Bellamy and Clarke are back as a power duo again, so my guess is he’ll be on the squad too.  So what I’m really excited about, because we’ve never really had this before, is the four of them working together as a co-leadership team.  I want to see Chancellor Kane and Ambassador Clarke negotiating with Roan and Luna.  I want Abby and Bellamy working together in Arkadia to convince their people to go along with Clarke’s plan.  I want Clarke and Abby to talk about Lexa and Jake, about how you go on with a hole in your heart and how to grieve and heal.  I want Kane and Bellamy to talk through all the things that happened in S3, how Bellamy almost got Kane executed because he stopped trusting him, how ALIE made Kane almost murder Bellamy in cold blood, and where they go from here.  I want us to see the parallel relationship dynamics - the big-hearted, loving Griffins who are used to giving and receiving affection reaching out to the isolated protector men who are still getting used to the idea that they have a place they belong and people who care about them. 

TO CONCLUDE: Abby is Bellamy and Clarke is Kane and they’re a big beautiful leadership power squad family and I love them all with my whole heart THANK U AND GOODNIGHT

alright i’m in a bad mood so here we go

- The last chapter is showing us events ten years into the future. Pretty much anything can happen in ten years. People change, situations change, etc. Keep that in mind.

- There is nothing wrong with Uryu being a doctor. He said he didn’t want to become one because he saw his dad dissecting his mom. He then found out WHY his dad had to do it himself, and that he wasn’t just cold or heartless. Uryu and Ryuken’s relationship was implied to be repaired, at least somewhat. Uryu’s angst was resolved.

- Nothing in the final chapter implied that Uryu was sad, lonely, or “just like his father.” His face was hidden in the color spread, and we saw his back up until his smile was revealed, because Kubo wanted the audience to experience a tinge of worry for Uryu before revealing no, he’s really okay, he didn’t become like his dad, even when he’s working hard he’s still thinking about his friends. (Doctors can’t just blow off work to attend a party. Welcome to adulthood and all the responsibilities that come with it. Uryu’s doing his job and saving lives, and STILL found a way to watch Chad’s match. That says a lot.)

- Uryu is perfectly capable of getting over a crush he had in high school and moving on, there’s nothing to imply he’s sad and “pining,” ffs he’s a grown adult, stop treating him like a child.

- Chad became a boxer. We do not know WHY he became a boxer. His abuelo wanted him to stop being a bully; Chad chose to make his own promise to “not swing his fist for himself.” (That promise was never specifically about Ichigo btw…) He could be fighting for charity, or using his winnings to support his family, etc. WE DON’T KNOW. (And fyi, Chad’s in the “heavyweight” match. Whoever he’s fighting won’t go down with one punch, trust me.)

- Up until now, most of the people complaining never gave a damn about Chad anyway, so quit pretending like he’s been your “precious bb” this whole time when you left him out of your edits/meta/fanart/etc for fifteen damn years. “Chad deserved better!!” Yeah, no shit, he deserved better; he deserved to be recognized by the fanbase as a MC before it was convenient to do so for your “bleach sux” arguments.

- There is nothing to suggest that Orihime was shoved into the role of “housewife.” We have no evidence that she doesn’t have a job outside of the house, or that she doesn’t work in the clinic with her husband. There’s also no confirmed age for Kazui, so the “teen pregnancy” theory isn’t canon either.

- Ichigo defeated Yhwach ten years ago. He killed him. The “time skip” is a flashforward to show us Yhwach FAILING to move into the future and wreck everyone’s lives again. There would be no reason for Ichigo to purposely screw himself over in order to “be unhappy so Yhwach won’t come back.” HE ALREADY STOPPED YHWACH FROM COMING BACK. I KNOW YHWACH’S ABILITIES ARE CONFUSING BUT OH MY GOD GUYS, READ.

- Also, if you think Ichigo Kurosaki is the type of person to just “accept fate” and ruin his own life out of fear of some dipshit who hurt his loved ones, you know literally nothing about his character. Even if Yhwach’s defeat wasn’t already confirmed, Ichigo would do whatever he damn well pleased and wait for Yhwach to show up so he can kick the bastard’s ass again.

- Even IF Yhwach wasn’t already dead, even IF Ichigo was afraid of him, you know Ichigo is the kind of guy to say “welp, time to go become a mountain hermit.” He would isolate himself and let the people he loves have a “safe life” without him. He is NOT the type of person to DRAG AN INNOCENT WOMAN AND CHILD INTO A LIFE HE KNOWS WILL BE “MISERABLE.”


- Prior to chapter 686, Ichigo did not have confirmed feelings for Rukia or Orihime. Rukia did not have confirmed feelings for Ichigo or Renji. Renji’s feelings for Rukia were ambiguous ever since his introduction. Orihime was the only corner of this supposed “love square” that had canon romantic feelings for anyone. No amount of twisting the text to suit your ship will negate any of that.

- The creator also said flat out what kind of bond Ichigo and Rukia had. He was ignored then and is still ignored now. Non-canon romantic subtext in the anime, color spreads, and whatever went down in the rock musical do not erase what he said about their canon relationship in the manga.

- Oh, and Renji is not abusive. You are taking a very complicated situation that happened years ago and cherry picking to fit your narrative. Cut it out.

- Ichigo likes being a shinigami, as it gives him the power to protect those around him. He has mourned the loss of his powers before. However, he never showed any desire to move to Soul Society or become a part of the Gotei 13. Even at the beginning of the Thousand Year Blood War arc, we saw him perfectly content working as a substitute shinigami in the living world, fighting alongside his friends. There was nothing preventing him from trying to jump over to Soul Society and join them, yet, he didn’t??? Crazy.

- There’s also literally nothing in chapter 686 that implies that he no longer has his shinigami powers. “WE DIDN’T SEE THEM THO” is not a valid argument. I guess because we don’t see something, it stops existing? Kubo has no reason to show us he still has his powers, since there’s no reason for us to believe he lost them.

- Yuzu does not have a brother complex. Her favoritism and hero worship of Ichigo have always been obvious, and they now extend to Kazui (aka tiny Ichigo), which is what Karin was commenting on. Anyone who has a relationship like that with their older brother would understand why it’s embarrassing to have it pointed out.

- And stop calling Kazui an “incest baby,” you little shits. I don’t know what’s with your obsession with incest, but it’s not cute or witty.

Meanwhile, actual serious issues with the ending:
- Urahara?
- Yoruichi??
- Nel???
- Grimmjow????
- Kira?????
- Seriously, Kubo, buddy, wtf

anonymous asked:

What do you think about Sanji's sexuality? (a lot of OP fans seem to think he is gay or bi and I don't get it, like, when has there ever been a single hint to that?!) your insight on the manga is pretty deep so I was just wondering what you think :)

Haha… yeah I think I have a thing or two to say about this subject. As most people already know, I really am not a fan of Sanji. I’m seriously bothered by too many of his defining characteristics as made by Oda, and I’m also bothered by some of the ways that fans try to justify or explain or interpret him. I think Sanji is straight and cis. The idea that Sanji is gay or bi is one of those things that bothers me. Let me start by talk about some real world junk. 

You know the idea that people throw out sometimes about “this person is homophobic so they’re secretly probably gay haha”? As plenty of people have pointed out, the fucked up thing about this idea is that it promotes the idea that queer people are responsible for our own discrimination–homophobes are really just queer people who haven’t come to terms with being queer yet. 
And you know the other idea of “if a boy is mean to a girl it means that he likes her”? That’s another fucked up idea. Repeating and spreading that idea encourages girls and women to interpret harassment and disrespect as displays of affection. That’s fucked up. 

The reason why I bring these things up is because I feel like interpreting Sanji as gay or bi is a combination of these ideas. Sanji made it abundantly clear that he was repulsed by the people of Kamabaka kingdom and their attraction to him. What Oda did with Sanji’s time skip story and Iva’s kindgom is 50 different kinds of fucked up and I do not like talking about it. I’ll say this though… based on it I would say that Sanji is both transphobic and homophobic. Sanji was repulsed by their interest and affection toward him, and it was because he rejected the idea that they were women. Oda wanted the audience to look at the Newkama there as being basically “hyper-masculine men dressing and acting like women.” Sanji’s disgust with them wasn’t just about their being trans–it was about them, who he saw as men, being attracted to him and pursuing him. 

So yeah. I feel that Sanji’s homophobic. And then to bring in the other point I first brought up, most people who ship Sanji ship him with Zoro. Will anyone argue with the massive popularity of this ship? It’s popular, and I’ve voiced a lot of criticism of it. Sanji and Zoro respect each other, but they do not like each other and they never miss a chance to insult and argue with each other. Sanji’s even put razor blades in Zoro’s food. That thing I said before about girls being told that boys acting mean to them is just them hiding their attraction–people apply that belief to same sex relationships between men too. And it’s fucked up there as well, since it encourages young boys with same sex attraction to also interpret aggressive behaviors as being motivated by attraction. The sheer popularity of “hate ships” makes me uncomfortable because it really does promote the idea that two people who are at each other’s throats all the time should get together and date

This is why I do not like the idea that Sanji is gay or bi. It takes a character with displayed homophobia and rude/aggressive/violent behavior toward another man (Zoro), and then interprets these things as masking attraction to him. It’s fucked up to me. Some people know that their ships are crack ships. Plenty of people don’t actually believe that Sanji is gay or bi in canon, but still like his actually good qualities and think he’s hot and enjoy seeing him nude on top of various guys. That’s fine, and go ahead and enjoy staring at Sanji naked. Some people like to completely remake Sanji in their AUs, and that’s cool too. However, attempting to argue seriously that Sanji is gay or bi in canon is fucked up to me for all the reasons I explained above. 

something long and not funny about why I get anxious about a thing please feel free to ignore

Hit J to skip it’s very TL:DR

So I’ve had people asking about the SKIP (feature) thing, and while I’m sure you’re all tired of me restating that I come up with the characters and then they tell me what the story is that really is what happens to me, and in this case Arthur and Mesi came with a full feature film attached. The SKIP short you know was an abbreviation of the main aspects of it; inter-filmic travel and them being adorable.

What you may not know (or, at least, I can’t remember if I made a post about it), is that this crazy fun-times feature film in my head gives me enormous anxiety. Because I handed the entire plot to someone that I didn’t know.

Allow me to explain first that VFS was wonderful, is wonderful, and I love it and regret nothing about attending the course. What happened was something unusual, and only really a fault of my not asking for confirmation and for doing too much work. That stated our character design lessons were great and my teacher was and is a super great guy, like wow what a guy so cool. When we got an assignment to draw three characters from a feature I went at it full tilt. I wound up not only designing three characters, but a whole spectrum of supporting cast and a rough script outline. Start to finish, the big finale, the critical points of character development, the whole thing. I handed it in… and only got the character design sheet of the main three back.

I was, naturally, a little bit upset about it as the drawings had all been originals and I had no copies, but when I asked my teacher he was as surprised as I was that I’d only got the one sheet back. As it turns out the assignments were not being marked by the same guy who was giving us the lessons; a little unusual but not a fault necessarily. Two points of feedback are better than one and all that. My problem was, and is, that I didn’t know this person. I have had trust problems with teachers before, and to this day I don’t know if this mysterious other simply threw away the extra work, or kept it. If it was the former I would be overjoyed. The thing that has made me wake up in a cold sweat at four in the morning once a week for the past three years is the prospective of the latter. I live in perpetual fear of waking up to find a trailer for a corrupted version of my own film staring back at me on the internet. Paranoid, yes, but there it is. I can’t lie about it, I am constantly anxious about it, and even if I am busy enough to forget about it most of the time it bubbles back to the surface time and time again.

I am, as I hope you might know to be true by now, really quite critical of my own work, so I hope you understand what it means for me to say that I really believe that the SKIP feature is a good film. It is a good story. If this unknown person (whose name I have long forgotten and who I am almost afraid to seek out), thought the same of it and acted immediately they could quite well have me over a barrel, as I only finished the short film a good ten months or so after submitting that assignment. I know this is probably a fruitless and embarrassing confession of how truly unraveled my general state of mind is and that I am being overly suspicious and egoistic, but a story writer’s brain is always asking ‘what if?’ and mine is likely doomed to keep asking that question about this until I make this film, or someone else beats me to it.

Anyway sorry for the text splurge I think I just really needed to get that off my chest.

anonymous asked:

I know you've been saying it but what is important about Carl and Negan's relationship? I don't read the comics but I'm interested.

Well, first I would say if you have the ability you should absolutely read the comics. But Ok, I’ll do this. First off it’s important to say that Carl is probably my favorite character (top 3 at least) and he’s been shafted in the show which is sad, but because of this any relationship that is important to his development is important to me. 

The show did a GREAT job with Negan already, and I’m glad they had some Negan & Carl focus and I really hope they don’t throw all that out the window by having Negan kill him. But lets get into the comics. 

There are spoilers from Negan being introduced until the last time they’ve interacted in recent comics (including scans) so be warned if you don’t like spoilers don’t come looking at this. Also just a minor warning for gore because of Carl’s eye, just in case. 

Keep reading

Warning, extremely long nonsense meta. I have to put this under a cut so I don’t drown people’s blogs. I finished my first grad school semester and I’m on break, but here I go, letting the therapist out.

There are still a lot of questions about Viktor’s past but I don’t think we really need to know more. What we hear from other characters and what we found out from the last two episodes has painted a good description of his life.

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anonymous asked:

I'm interested in what you have to say about Moffat not being able to write darker characters. Can you tell me how? Sorry if I'm bothering you, I just like hearing other people's opinions

You’re not bothering me dear.

Moffat has proven time and time again that he can’t write two things – women and emotional consequences. Part of being a dark character is acknowledging that things have happened in the past to make you that way. For example, most villains have a tragic back story that’s led to them being a villain. The Master was used and abused (metaphorically) and driven insane Voldemort was abandoned at an orphanage where he was partially neglected (because with that many kids there’s never enough attention to go around), and as a result became slightly sociopathic (and eventually turned into a wizard version of Hitler); honestly I could go on all day about villains and backstories. They’re not excuses for their actions – just explanations.

Now a dark character isn't necessarily a villain, but the same theory still applies – there has to be something that made them dark. Loss, for instance. Tragedy in their pasts. Things that have happened that have shaped them to be who they are. Emotional consequences.

Now let’s go back to what I said about Moffat not being able to write emotional consequences. Moffat loves the big shiny reset button. Every time something even slightly traumatic happened to Eleven or in the Eleven era in general, he reset it so it never happened. I could go into detail with all the times he’s done this, but let’s skip right to the biggest and most insulting one: Day of the Doctor.

Moffat has been quoted as saying that he doesn’t think the Doctor would ever really push the button and destroy Gallifrey. In fact, have the actual quote (it took a bit of Googling but I found it):

“I remember thinking, ‘what was the most important occasion in the Doctor’s life?’ Obviously it was the day he blew up Gallifrey. Then I tried to imagine what writing that scene would be like, and I thought literally – there’s kids on Gallifrey and he’s going to push the button. He wouldn’t. He wouldn’t. I don’t care what’s at stake, he’s not going to do it. So that was the story – of course he never did that. He couldn’t have. He’s the Doctor, he’s the man who doesn’t do that. He’s defined by the fact that he doesn’t do that. Whatever the cost, he will find another way. So it had to be the story of what really happened that he’s forgotten. Of course he didn’t! He’s Doctor Who. He doesn’t do things like that.”

Moffat literally can not imagine the Doctor doing something that has emotional consequences. Yes of course it would be horrible if he destroyed Gallifrey, of course it would kill the Doctor to do it, but the Doctor we all know and love would weigh the options and make the decision that’s best for the universe as a whole. Not what’s easier for him. Perfect example: The Runaway Bride. He killed the Racnoss queen and her children, even though he didn’t want to (in fact he tried to give them the choice to leave, even offered to help them get off the planet), because it was either that or let them get above surface and take over Earth. It must have killed him to do it, but he did it because what was at stake was greater than what he was destroying.

But according to Moffat, he would never do that. So instead he reset the entire Time War, and seven seasons of character development, just because Moffat couldn’t imagine having to write the fall out of the Doctor pushing the button to destroy Gallifrey.

And that is why I don’t think Moffat can write a dark Doctor. Because dark characters are the results of tragedy and emotional fall outs, and Moffat’s emotional range is so limited that he can’t conceive of those types of things, so how is he ever going to be able to write a character who is the result of them? The only character type he seems capable of writing is a selfish cosmic twelve year old who just resets time every time something goes some way he doesn’t like.

Fantasy vs. Reality (Drabble, possibly more?)

Rating: T (for now-but if continued, will definitely go up)
Summary: Felicity discovers something she didn’t expect while doing her security searches on social media.

Notes: Okay, so I will have a nice smexy Sladicity update to my “Moments in Time” series up later tonight, but someone during a discussion (and not about “Arrow” go figure) mentioned this and the Olicity plot bunny took off. I don’t know if I should continue with this…that’s why I’m gonna let you all on Tumblr tell me if it should remain a drabble–or get some ‘resolution.’

This is not a 'serious/angsty’ Olicity drabble. In fact, it’s probably a little bit more fun, cracky, and most likely OOC as well. But you know, after all the angst I’ve read lately, I just wanted to write some fun, sexy, Olicity where 2x14 didn’t happen. (So this is set sometime after Russia-Lyla happened but the Isobitch didn’t as I have no more energy to write about angsty Oliver and his hookups)


Felicity Smoak wouldn’t deny she was a fangirl. She was damned proud of the fact she could name every Doctor and the twelve (well, thirteen if you counted William Hurt) actors that had played them. She would, if asked, admit she’d taken a kick boxing course several years ago to see if she couldn’t learn to move like Sydney Bristow. Not surprisingly, the gym’s version of kickboxing had nothing on what Digg and Oliver were teaching her, much less what she’d seen Sara do, but she could still move like Sydney (she was pretty sure) if she wanted to. And she wouldn’t deny spending many a Saturday night curled up with Sleepy Hollow,Supernatural, Stargate or Star Wars movies and a bowl of buttered popcorn.  Heck, if pressed, she’d even admit to playing a little Dungeons and Dragons, at least before she’d found her real life taken over by a far more dangerous game.

However, her (not-so) guilty pleasure, one she’d managed to keep from everyone so far, was fanfiction. She hadn’t yet worked up the courage to write any herself but she loved reading other people’s stories about characters from a TV show, book or movie. It amazed her how creative people could be when they wanted to. And she’d read some pretty good stuff in her fan life. Even more so, she wouldn’t deny enjoying some of the steamier stories that came out, especially when they were about a couple she wanted to see together. Those were her favorites.

However, that wasn’t on her mind this evening as she ran her usual checks on the computer, searching out information for Oilver and Digg. In addition, she also kept an eye on social media and websites that might mention the Arrow or Oliver. She figured it was a safety precaution as she knew something spread on Twitter could destroy the carefully built façade they’d finally gotten back up around the Arrow in the months after the earthquake. So when she heard a ping, signaling her computer had identified an Arrow related post, she clicked on it without thinking too much of it. After all, she’d seen a lot of interesting posts in the nearly two years she’d known Oliver.

What she hadn’t expected was this.

Her eyes widened as she saw a Tumblr post with a link that read “Visited by the Vigilante.”

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