i'm sure someone will object to at least one of these but i have reasons for all of them

mythover  asked:

Hey there love your blog. Quick question I'm trying to write a fanasty book where one of the main characters use both swords & guns. A katana on his left hip & a short katana on his right aswell as carrying a desert eagle on his person but he lives in a world where technology & magic exist except firearms are illegal. Is it possible to write scene's where this combintaion works?

The “short katana” would be a wakizashi. It’s a distinct weapon in its own right and was traditionally part of a samurai’s accoutrements, though this is probably the least significant issue here.

The combination works in so far as you remember that real people make really horrible decisions in an attempt to seem cool. The Desert Eagle is a very flashy, somewhat terrible, gun. You carry one as an aesthetic choice, not because you want to actually kill someone with it. It’s big, bulky, unreasonably heavy, and stupidly expensive. The only point to owning one is to say, “look at what a badass I could be.”

The katana is a very flashy, somewhat terrible, sword. Stop me if this one sounds familiar; this is a sword you carry as an aesthetic choice, not because you actually want to kill someone with it, but because you want to say, “look at what a badass I could be.”

In both cases you’re talking about items that present the concept of a weapon far more valuable, lethal, and cool, than the real articles offer. With the katana, there’s also all of the associated cultural baggage. The katana is, literally, a holy symbol in Shinto. If your character is carrying one for religious reasons, that’s one thing; but, if they’re looking for “the best sword,” then, it’s a terrible choice.

It’s also probably worth pointing out that both the Desert Eagle and the katana require two hands to wield properly. Desert Eagles have a “floating mag,” meaning the magazine remains somewhat loose in the grip, while locked. If the operator fails to properly stabilize the pistol, this can result in the pistol failing to feed, meaning it won’t properly load the next round into the chamber, and forcing the user to cycle the slide manually. This isn’t an issue if you’re using the pistol as designed, but if you’re trying to fire it one handed, because your other hand is occupied with a katana, it could easily result in a dead man’s click long before the magazine is empty.

There’s a similar issue with the katana, the design works with the idea that the wielder will be using it with both hands. Specifically you use your index and middle ring and pinky finger on your off-hand to control the blade, while using your main hand for power. The problem with wielding one single handed should be immediately obvious; you can flail around with it, but you can’t really get much value from it that way. At that point, you’d almost be better off with a machete, simply because it would offer a more comfortable grip, and would be easier to swing.

While wakizashi are frequently matched with a katana and sold together, they’re not intended for simultaneous use. The wakizashi had distinct uses, mostly so the samurai would have a blade they could actually use in doors, but it wasn’t supposed to be dual wielded with a katana. Think of it like buying a kitchen knife set, sure there’s eight knives in there, but you’re not going to be using all of them together at once.

I’ll add, I’ve got nothing against a character that has a reason to use a katana. If it’s a badge of office, a family heirloom, a sign of their order or training, that’s fine. It’s the idea that “this is the best possible sword ever,” which I object to. It’s a two-handed sword. It’s not particularly great. It has a dedicated martial style, predicated on using very fragile blades, (and historical katanas are exceedingly fragile).

Finally, if you’ve got a setting where firearms are outlawed, there’s a few problems specific to the Desert Eagle. I mentioned that they were large and expensive, so let’s break those down a little. First, these are massive pistols. A Mark XIX Desert Eagle weighs just under four and a half pounds. For a pistol that is comically heavy. This is also a gun that is over a foot long. These are large handguns. They are difficult to conceal. If you’re living in a setting where owning a gun is illegal, this is the last thing you want to be carrying on the street. (They’re pretty terrible carry weapons in the real world as well.)

On the current market, with firearms that are legal to buy, a used Desert Eagle will set you back at least $1,200 ($1,400 to $1,700 is more likely, for a gun in decent shape). In contrast, if you’re shopping for a solid conceal carry pistol you can expect to spend somewhere between $400 and $500. Even high grade “tactical” pistols rarely break $1k, unless they’re collector’s items (or SIGs). Most “cool” pistols you see on TV probably cost between $600 and $1k.

If you’re wondering why SIGs manage to command higher prices, it’s because (in most cases) they’re remarkably high quality. I’ve had issues with the American produced SIG Sauer P226s, but in general SIGs are worth the money.

The Desert Eagle really isn’t worth the money. As I said earlier, these are guns you buy to show off, not because you’re looking for a carry weapon.

And, all of this is before you step back and apply the economics for a setting where getting a handgun is illegal. At that point, you’re talking about a gun that could easily cost more than an older model car. Those economics skew against you even harder every time your character pulls the trigger.

Desert Eagles come chambered in a couple different rounds. There’s .357 magnum, .44 magnum, and .50AE. (Technically, there’s also .41 magnum and .440 variants as well.) Gun stores aren’t going to stock a lot, but you can buy them if you’re using something chambered for it. Also worth noting, if you’re dropping the hammer on a .50AE Desert Eagle, it will set you back more than a dollar per bullet. (The current, actual cost in the US is ~$1.35 per round.) But, if you’re in a setting where firearms aren’t easily available, your black market’s going to need to focus on rounds they can actually sell. They may keep a little bit around (and would charge way more than the price I just quoted), but once it’s gone, getting your hands on more could be very difficult. In this sense, it would be much safer if your character was using a firearm that matched to the common calibers in their setting. The reasoning is, that your black market may not keep much .50AE around (if they keep any at all), but they probably will stock 9mm, .45, or whatever your setting’s cops use. It’ll cost substantially more than it would in the real world, but it will be something your character can buy. It also won’t leave behind freakishly expensive shell casings every time they open fire. A string of killings involving a .50AE pistol? That will bring the cops down on their contacts looking for someone who’s been scavenging around the black market for those 12.7mm rounds far faster than a few people who got plugged with a black market .45.

To a lesser extent, the katana and wakizashi have a similar issue. Yeah, sure, they’re cool, I guess, but they’re also memorable. If your character is using a sword (and that’s common in the setting), having the cops looking for someone using a guy with a katana will result in a much shorter search ending at their doorstep than someone with a random non-descript sword or even something like a machete.

If the katana is enchanted, then sure, your character is kind of stuck with it (up to a point), but it’s still a weapon they’d need to be somewhat careful about hiding, and more careful about using.

So, yeah, it’s entirely plausible that you’d have a character who thought all of these were a good idea. If you have a setting where they could actually get their hands on them is a different question.

If you’re thinking they could use the weapons together, then no. They could switch between them, but trying to use them all at once would result in wild flailing, and a malfunctioning pistol.

I can think of, at least, one legitimate reason why your character might carry around a Desert Eagle (or a katana) in a setting like you’re describing, and that’s to scare people. If you’re an enforcer for some shadowy criminal organization, then being able to shove a 14 inch, chrome, monster gun up someone’s nose is an effective option (and yes, the Desert Eagle is a model of handgun you can press into someone without disabling it). But, even then, they’d probably carry something far more practical for times when they were there to kill someone, and not just put the fear of Elmer Keith into them.

Depending on the setting (or the organization they work for), then they might carry and use a katana for that kind of intimidation instead. For instance: If they were Yakuza, it would make some sense. At that point, you might reasonably get a character who used that exact set of weapons for intimidation, and would actually use the katana or wakizashi when provoked.

In general, though, there’s nothing wrong with a character thinking this is all a good idea. It’s not. But, if they could afford it, they might go chasing after that concept anyway.


EDIT: As @fox-bright kindly reminded me, it’s the third and fourth fingers on your off hand that you use to control a katana, rather than the first and second. Sorry about that.

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anonymous asked:

un-biased analysis on that jikook vlive in osaka of them possibly doing bro things while naked in the dark pLEASE

First of all, you asked for this

Second of all, I’m just gonna point out a few things because the whole video was just…weird and try not to shove jikook down your throats cause that’s not fun (and also because there’s no actual evidence of Jimin being in the room in the first place)

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I’m bored so here’s some general tv production stuff. I’ve been wanting to post these concepts in a meta but decided to give them mostly their own post.

We’ll round the ratio for the hourly screentime to 1 even though most network TV dramas are 42 minutes. Producers of tv networks usually like a lot of coverage and shot variety so there’s more control and they can adjust timing. When I took film/tv production classes in 2012 or so, I was taught that networks budget about 18-20 hours of footage to 1 hour(rounded) of screen time. Looking around now, that seems to still be about right from what I could find. If anything, it might be more footage because pretty much everyone uses digital now and digital is cheaper than film by a lot. I’ve heard of 40:1 but I don’t think that’s normal. It is a thing though.

Typical projected filming with actors is about 12-16 hours a day for tv. I don’t know what the schedule is for all tv, but SPN apparently films for 8 or so days an episode. 

Below are the 6 cardinal rules of editing and how much each one is supposed to matter in the cutting room. These were taught to me in school using the book: In the Blink of an Eye by Walter Murch. The first 3 are pretty obvious, the last 3 are more technical:

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anonymous asked:

I'm making some changes to my paracosm, and I decided to make magic a larger "thing" in it. How much magic do you think is *too* much? I'm thinking about magic influencing the land that people inhabit, and magic influencing people's lives. Now, everything would have a plausible explanation (magic in my paracosm has a set of rules), but I'm afraid to fall into the "deus ex machina" territory. When should we stop using the "It's magic!" explanation for improbable stuff?


There is no such thing as too much or too little magic. 

When creating a world, incorporate as much or as little magic as you want. It’s yours, and you can do anything with it! And in fact, magic is a fantastic explanation if you want improbable things to be a part of life in your world. 

The only thing you need to do when working with heavy-magic worlds is make sure to have internal consistency, and make sure to make it all make sense (if your world is one where things make sense. Sometimes it’s best to just handwave things, and preposterous stories can be a lot of fun! It’s mostly stylistic choice at that point). You mentioned that everything follows a set of rules, so it sounds like you’re well down this path already. 

A few things to avoid so that your magic-heavy world will not annoy your readers: 

Follow Your Rules. If something always happens a certain way, do not deviate from that rule unless you have a legitimate explanation for why it can do so. Stories that focus on a breaking of an established rule can be really neat, and breaking your own rules can be fun, but you have to explain why. If, in your world, someone can use fire or water magic but never both, and then a character shows up who does, you need to have an explanation behind that (this can vary; supernatural forces, rare and not-well-known circumstances, misunderstanding of the rule by the general public, etc, as long as the explanation is there).

Don’t Make it Convenient. If the magic in your world solves everyone’s problems and never causes more problems, it will be boring. If magic is powerful, think about what kind of social implications it might have, especially if not everyone has access to it equally. If you implement magic in a way that solves one problem, try to at least give it the potential to cause other ones. 

Also, if you need something to happen for plot reasons (someone needs to die, a battle needs to be lost, an event must play out without intervention) and it is possible for that event to be stopped or changed with magic, make sure you have a reason that it didn’t get changed. It drives me up the wall when powerful characters don’t use their powers at crucial moments for no apparent reason, and everything gets screwed up as a result. If your character can see through walls, there’s no reason for her to peek around a door and get spotted by the bad guy. However, this is not to say that events like this cannot happen! Maybe the character who can see through walls is being pursued by someone who can sense her magic if she uses it, so it’s actually less risky to try to peek around the door. Alternate explanations can be fun, and they won’t irritate your readers like it will if someone conveniently forgets to use their magic. 

Make it Part of Life. If you’re going to have the land and the lives of people influenced by magic, make this influence show up in a lot of little ways, and try to make it a dynamic aspect of the world, instead of leaving it static. What if there is a magically very fertile land, but in order for it to remain fertile, certain trees have to be left untouched? What if everyone knows that, but then lightning strikes one of them and it dies? 

If a mountain is held up by magic, is it safe to dig a tunnel through it, or will that disrupt the magic? 

If someone who would otherwise die is kept alive by magic, how does that change their life? Did the magic simply fix whatever was wrong with their body that would have killed them? Do they have to be sustained by an object, and if that object is damaged they die? Are they magically tied to the person who may have saved their life? 


I think the most important way to stop magic from killing all your tension is to make sure the magic has a cost. Perhaps it’s unpredictable and the characters can’t really rely on it. A character who must cast spells using their own blood can only do so much before needing to rest; one who burns their own lifeforce and shortens their lifespan with every spell they cast will likely come to prefer not casting spells at all unless they have no other options. Spell components can be expensive, rare, obnoxious, etc. It could be that everyone learns a few basic spells and cantrips the same way they learn reading and math, but any significant power requires extensive study and training, an inborn talent, something like that.

Games are actually a great place to look at this. Video games, tabletop RPGs, even some board games–if there’s magic in play, they have to find ways to balance it and keep a character from being too broken and being able to run roughshod over any obstacle in the way. Cooldowns, mana costs, skill trees that cut off certain options depending on which path you take, physical components that get degraded or destroyed with use: all of these are ways to keep the magic users from being able to do whatever they want whenever they want. In fiction these things might not be quite as clearly quantified, but you can still use the concepts (like a sorcerer might not have a defined number of spell slots, but their spells become less effective or even stop working entirely if they push themselves too hard).


Personally, my line for “too much” magic in writing happens when: a) it takes such a long time to explain the function/purpose/execution of the magic that it distracts from the scene/plot/narrative (UNLESS some magical execution happens to be part of the scene/plot/narrative) b) it involves memorizing too many vocab words/rules/quirks of operation to stay on track with the world c) so much gets hand-waved away (author assumes the reader will excuse and accept things as ‘magic,’ and/or that explaining the rules somehow makes it less 'magical’) that you’re left wondering “huh? wait, why did that happen/how was that possible? Magic, I guess…” d) there’s a mostly-magical solution for almost every conceivable problem except the cliche basics, like “can’t force people to fall in love,” or “can’t bring back the dead” (which, imo, are pretty weak constraints by themselves. Like the genie from Aladdin, he’s so powerful except for those things. Materialize an army? Make you improbably rich? Done! BUT they include the bonus restraint of “you only have three wishes” as a much better balance to the magic system).

I guess I can summarize that as “don’t let magic itself steal the spotlight away from more important things, but don’t let it be a mystery either.”

It’s okay

hey wow would you look at that i actually finished the fic i’ve been talking about writing for like a week. not my best work ever, probably, but i’m fairly happy with it. 

i made that long-ass post about my autistic!logan headcanon a while back and i wanted to do something more with it, so, uh, this is it, i guess? warnings: sensory overload, internalized ableism (aka me projecting all my issues onto logan sorry buddy), anxiety (the feeling not the character).

also, i want to emphasize this, autism is a very diverse spectrum. not everyone with autism experiences it in the same way. this fic is based off of my personal experience. do not assume that all autistic people are like this.

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gayflorona  asked:

Hey, so I read your post about how you identify, and I wanted to say that I totally support you in that and I'm glad you've found a label that makes you feel good! I don't understand though --- I and a number of other people feel the way about the word "queer" that you do about those other labels. And lesbian is the word I've chosen that makes me feel good. So... why should we use your label as an umbrella term even though it makes ppl uncomfortable, instead of something more inclusive??

Ok, so, basically the thing for me about it is…

When someone tells me that I can use ‘queer’ as a personal identity label, but not apply it to anyone else…

It feels like they are saying ‘it’s fine for YOU to be like that, but don’t try to go claiming solidarity, or a community, with anyone else, or act like anyone else shares your experiences!’

Which feels profoundly isolating, tbh.

Also, yeah, I don’t super love the word ‘gay’, BUT I wouldn’t presume to tell anyone they can’t use ‘gay’ as a term, just because I have a history of it being used as a slur against me.

Because if that is someone’s personal identity or they feel comfortable using it, then that is their right to use it, for themselves and for others that fit the generally accepted definition of the word.

And I would certainly never say you were unable to use lesbian as a personal identity. Go for it! I’m glad that it works for you. 

But literally EVERY WORD OR TERM we’ve got has been used as a slur, in a mocking context, to hurt.

It isn’t just ‘using a slur’ like ‘bitch’ when you could just say women, because none of the words we have are particularly neutral.

Despite ‘gay’ being used far, far, far more often as an insult & a slur in modern contexts, in both my own experience & that of research I have read on the subject….

I have never encountered a single person who has EVER objected to it’s use as a catch-all term on that grounds.

Not one.

If you genuinely believe you should object to the use of the word queer, it’s  doing the same for the word ‘gay’, but I’ve never seen that happen, not once.

So that doesn’t really feel like a useful argument, or at least, it feels very unevenly applied as one.

Which, again, is fine, because I’m not fond of policing the terms, I’m just pointing out that it feels hypocritical to tell people that one word is more harmful, so they aren’t allowed to use it, when both carry both good & bad with them.


What I would say, however, is that ‘gay’ & ‘lesbian’ used as a catch-all can erase all other women & people in the community who don’t fit that identity marker, and for that reason another more encompassing word perhaps, in general descriptions of ourselves as a group & how we are treated in media might be a better fit.

Because, yes, ‘gay’ can be used as a general community term, but the more common parlance that’s understood is ‘same-gender attraction only’, so it’s less useful as an encompassing term, anyway.


I’m looking at the media coverage of the “Xena’s sexuality is going to be explored canonically in the reboot’ thing going around, and I’m seeing a lot of ‘She’LL BE GAY’ or “SHE’ll BE A LESBIAN’ headlines…

When that wasn’t what was stated, that wasn’t confirmed, and Xena, to my knowledge, had relationships with men in the past during the original series, so calling her bi or pan or etc would probably be more accurate…

But people are seeing ‘not-straight’, & defaulting immediately to ‘welp, must be gay then’, which is limiting & smacks, to my mind, of bi-erasure type stuff.

Whereas, if those headlines said ‘queer’…

That, to me, would acknowledge that Xena will be liking ladies, but that no one has specifically mentioned an identity label for her, and her attraction to other gender could fall anywhere on a spectrum.

Because that’s what ‘queer’ means, to me.

It’s a personal identity label, sure, like ‘gay’, like ‘lesbian’, etc.

But it’s not strictly a substitute for those. It’s a larger category, like… Like taxonomic labels.

It doesn’t erase the individual identity a person has, it just acknowledges that they exist in a big complex messy overlapping group with a lot of other people.

 Me referring to you as part of a group & saying ‘queer’, to me doesn’t negate the fact that you’re a lesbian, any more than pointing at a bowl of bananas, pears, apples, oranges, etc, and saying ‘those are fruit’, stops the orange from being an orange. (It’s just acknowledging that… Oranges are not the only fruit, badum tshhh. I’m sorry. That was a terrible, terrible joke. I digress.)

It’s an umbrella term for all of the non-heteronormative identities, while also acknowledging the complicated nature of some of those identities.

To me, it seeks to encompass all of them in a singular word, to point out the fact that not everyone’s identity is set or defined. Some are, some aren’t, some are a work in progress.

To acknowledge that the gender binary is a construct, a strict binary of male/female, straight/gay, doesn’t work for everyone….

Like myself. What word easily states ‘attracted to women, for sure, some nonbinary people who lean more femme in their gender expression, definitely not men, haven’t worked out exactly where I’m at in terms of sexual attraction all the time, also autistic so figuring out how I feel about people is weird anyhow?

There isn’t one, and that paragraph makes for a darned mouthful & TMI in most conversations, anyway.

So… ‘Queer’.

Because coming up with a way to list every possible word for every possible combination thereof in terms of identity, outside than what is seem as ‘the default’ is a functionally impossible task.

Sure, you could list acronyms like WLW, or LPQB, or LGBT.

But often those they leave a lot of people out, like bi women currently loving men, for WLW, or for the other ones, ace spectrum people and others, and they are all awkward in verbal conversation, not super accessible to the uninformed, etc.

In terms of LGBT, it’s often used in circumstances that also conflate being trans as if it’s a sexuality, or to give the false impression that trans issues are being prioritized in a conversation they are absent from.

‘Sapphic’ just sounds a bit twee, in all honesty, and again, it codes very overly-specific to just women who exclusively like other women.

So that’s my case for queer, in terms of using it as a catch-all, because it’s both simpler, more complex, and broader than any of the other terms.

Queer is also more than just an identity category of categories, too, it has other context that make it appeal to me.

It specifically has the academic context of ‘queer studies’ & ‘queer theory’, and the academic discourses that, while wildly imperfect, have done a lot of good at studying our community, understanding it, legitimating us, etc.

It isn’t a term that’s just a slur, it’s a term used by the people looking at us, or looking at themselves, in understand, to gain context & knowledge & circumstance.

It has that weight behind it, for me. That lens.

I’m a sociology major in my undergrad, and if I could do any kind of research, it would be ideally from the lens of queer theory.

That’s also what I think of when I use the term. Of my gender studies classes & queer theory classes I’ve taken, the halls of universities carrying the term.

That’s why it’s used in media commentary, in aca-fandom, in terms like ‘queerbaiting’.

We aren’t pulling from it’s older history as a slur, we are pulling from its newer usage as a tool of critical commentary, to utilize the term as a line-of-best-fit catch-all for the issues that affect people who don’t fit the neat box of cis/straight.

And finally…

Yeah, queer has a history as a slur, and one in modern academic contexts, but it also has a history since at least the 1980s as a term used in by activists in our community to fight back against the idea that our identities are shameful.

It was specifically used, to my understanding, BECAUSE of its power as a slur, not merely in spite of it.

The reclamation of it has a lot of power to me.

It feels, to me, like saying ‘The world is saying that who we are is shameful, is disgusting, is crazy & terrible & wrong, & they’ve said it loud enough and long enough that we don’t have any words left but the ones that they’ve used to hurt us with.

But we’re tired of believing them.

This? This thing that they said we are?

Is beautiful. Is love, is pleasure, is happiness, is pride. We refuse to let it be ugly, because it never was.

Language evolves it shifts and grows and SO MANY people have grasped onto that word with joy & pride, and used it as a banner, a rallying cry, have formed academic language that calls our messy complexities out of the ether & into legitimated discourses of existence, of struggle, of love, of being.

We’re allowed to carry that word in more than just our aching hearts, let it echo in broad public halls, not just in the quiet spaces between the words we never let ourselves speak.

We can speak it.

We CAN use that word as if there is a community behind it, as if there is anyone else like us in the world for us to find peace or love or belonging with, because there is, we know there is.

We’re trying to move past the kind of thinking that told us different, thanks, and we have no reason to go back to it, we have no reason to grant that any power over who we are, who we choose to be. 

As the rallying cry states…

We’re queer, we’re here. Get used to it.

kandayuu  asked:

lavilena, for the ship ask meme u reblogged a couple hours ago pls ;v;

I’m really sorry, this post turned into a huge monster. My Lavi/Lena feels know no boundaries. I don’t think ask memes are supposed to turn out like this.

send me a ship, and i will tell you:

when or if I started shipping it.

otp ;___; i originally paired them off because i was a yullen shipper and it sort of made sense for me to write fics that included both yullen + lavilena so i didn’t really /ship/ ship but i just wrote them together. this was back in late 2007?? according to my ffn posts, which was when the ark sequence was still in writing! i kinda started finding them cute together because of the anime fillers (episode 44 and 45, i still remember till this day) and then when the manga chapters came out i think i sort of got persuaded that they really could be a thing.

• my thoughts: (chunks of content below)

this couple breaks my heart all the time lmao, i really believe that they could be a canon couple. what sets them apart is how both lena and lavi are both perfectly strong, independent people (tbh all of ot4 are) but although they don’t rely on each other to be strong, they draw strength from the other did that make sense. 

here, lavi gives lenalee, who was scared to death because of how hopeless the entire situation in the ark was, a comforting squeeze and instead of telling her it’s okay, he tells her to get a hold of yourself. he doesn’t make statements like “we’ll be okay”, because he knows he can’t promise her that (and lena probably won’t buy it either lmao), but instead this one sentence reminds her that everybody is fighting and that yes, she should keep on fighting too. 

something similar happened on the ship to edo, but i don’t have the screencap here: he knocked sense into her, although he made her cry and felt really guilty afterwards.

and the first thing she thought of when she thought she was going to die was that she hadn’t apologized to lavi. there were so many things and people she could have thought of, why lavi, why an apology?

on the other hand, lenalee’s humanness is giving lavi strength as well. strength in the sense that he has something to fight for, which is making him more human.  lbr, if lenalee wasn’t around, lavi would only be fighting just for the sake of survival. i say strength in the shounen sense - of having someone to protect, which is ironically the one thing that lavi should not possess. yet you cannot deny that lenalee has been the main reason why he has become more human.

when he goes to retrieve lenalee from her battle with eshii, he fights so hard with the ship’s crew to let him leave despite his own injuries. what is pain, when lenalee is missing?

and i’m guessing his monologue here is to show how her absence scares him more than he wants to admit.

when it comes to lenalee, any idea of objectivity totally flies out the window lol. he breaks the bookman code wayy too many times for his own good just for lenalee, because lenalee makes him human.

going against the inspector like that was totally overstepping lavi’s boundaries as a bookman, and he knows it very well, but he did it without even a second thought.

look at the shock on his face; he couldn’t understand how she could hate something so much, yet want it so much just to protect the people she cares about. and because of that, because he knows what she cares for (komui, more than anyone else), he is willing to go all out to protect those same things that she cannot. 

see how his first thought is for komui to stay alive? because he knows it would crush lenalee if anything were to happen to him. even kanda reminds him that he doesn’t need to do this. doesn’t need to do what komui has termed ‘throwing your life away’.

because why should a bookman do so? why should a bookman give up his life just like this?

but no, lavi just keeps going, even pushing komui to go to lenalee, knowing how much she needs him, because he is the one that she has been fighting for all these long years of holding the innocence.

and their respect for each other: lavi knows that lena will suffer if she makes this decision, to go and reclaim her innocence, (i’m sorry), and that lenalee hates the innocence so much, but he still lets her go knowing that she’s made up her mind. likewise, when she demanded that he return to the ship with bookman and to let her deal with eshii, he relents (although very reluctantly) and trusts in her. 

(wow i’m really sorry this was not supposed to happen wtf)

• What makes me happy about them:

that this ship is partially? canon and actually has evidence to back it up. I’m honestly not sure about lenalee’s feelings towards lavi, because we’ve never seen much of her opinions towards him, but I’m 100% sure that hoshino-sensei was being very deliberate when she presented lavi’s behaviour towards lenalee this way - how lenalee has affected lavi tremendously, continuously, more than anybody has, even the old bookman.

 …i think most of what i was supposed to say here went up in that huge chunk over there, but at the very least - they look good together. /bricked forever

• What makes me sad about them:

that they’re so impossible. if things keep going the way they are right now, lavi will keep on denying his feelings, keep on denying that they are feelings of any sort, not even romantically, and lenalee will remain oblivious. lavi treats her differently from everyone, but he always brushes it aside with his bluntness and humour - i sometimes think that she just treats it as it is; that this is all part of ‘who lavi is’ and doesn’t think anymore of it. 

but then: “bookman’s successor is no longer” so. i have hope?

• things done in art/fic that annoys me:

when lenalee is a helpless damsel who’s always crying and lavi has to save her..? although i did write a fic like that

because lenalee is a strong female character and i hate it when she is reduced to just a helpless girl without anything to help herself. to be fair i did make sure that the story had parts to show that lenalee is strong but at the moment in a situation where she can’t do jackshit, but she tries to fight back tooth and nail anyway

tbh i don’t really know lmao i just read it and if i don’t like it, i close it orz 

• things I look for in art/fic:

fluff, chemistry, strong and independent characters,basically that’s all. i usually go in with an open mind… i really love fics where lavi has all that internal struggle with himself over the heart though. but that’s more of a general thing than something specific to lavi/lena.

• Who I’d be comfortable them ending up with, if not each other: 

lenalee: allen probably, kanda’s too much like a brother to her

lavi: kanda, because i’m a sucker for laviyuu and because they both have the same “loving me will only bring you pain when i leave” tragic story  

• My happily ever after for them:

lavi embraces his heart and true feelings, lenalee accepts them ;v; that’s all i ask for. if they can live a happy life post-war, that’s fine by me, but as long as they both know that the other loves them, even if they die on the battlefield tbh i’ll accept that.

• what is their favorite non-sexual activity?

reading and dancing. sometimes alone, sometimes together, sometimes they just head off to somewhere quiet and look at the sun set while lavi threads his fingers through her hair.


Sterek AU - Stiles always loved Indiana Jones movies. He watched them with his dad when he was just a kid and then run around the house, pretending pieces of furniture are mountains and lakes and caves with treasures, while his mom watched him with that soft smile of hers, working extra hard on his Halloween costume in the middle of April, because she was just that amazing. And it all maybe started as child’s play, but in time it’s grown and became something bigger. Something that took over his life without him really noticing. 

No, it doesn’t mean he became obsessed with Harrison Ford and wore Indy’s hat 24/7. But he became… well, very active kind of researcher. Not a treasure hunter, because duh, he’s not stupid, even if someone could became that, they don’t tend to live very long. Or outside of jail. And it’s hardly as romantic career as movies present it. But Stiles loves just go out in the field and interact with people, or things, or whatever. So it’s probably not so surprising, when he finds out the supernatural isn’t just a movie plot and work of skilled make-up artists. 

Derek Hale is very very real. And very very agonizingly hot angry. Also there is a lot more supernatural beings than Stiles would ever thought. Banshees are real? Seriously? Suddenly it makes so much sense why Lydia always looks like she wants to scream at people. Or at Stiles. Mostly Stiles. 

Also, did Stiles mention how Derek kind of hates him? Or more like hates absolutely everyone, but Stiles thinks he’s on the top of the very long list of unwanted. Maybe it has something to do with the Triskele. Object he saw mentioned in some very interesting books and the reason, why he picked this area for his dissertation. Object Hale family guarded for centuries. Object stolen by the other not-exactly-treasure-hunter-but-totally-a-treasure-hunter. Which, beg your pardon, Stiles is not a treasure hunter or a thief, so back off!

There was a strong possibility Stiles is not going to see another sunrise. Or sunset. Or what’s going to happen in next few minutes. Lack of air in his lungs was near to alarming and there was also a mouth full of very big and very sharp teeth just two inches from his own. And there was nothing sexy in it, no matter how hot was the rest of the face in front of him. Or the body. 

“Liar!” Derek, because that his nametag says is his name, it even has a little smiley face, Stiles doesn’t think the man in front of him drew it himself, growls at him. 

And Stiles would very much like to defend himself, if he wasn’t strangled by dark, broody, and handsome he briefly met this morning in the store in the town. And if he would at least knew what he’s supposed to be lying about. So he just tries to take a breath, even if he mostly fails. 

“What are you really doing here? Why are you snooping around?” Those greenish, grayish, blueish, brownish eyes piercing through Stiles like a burning icicle. And yes he’s aware how impossible that is. Not the ice, that’s totally possible, but those eyes, man. No one should have eyes like this, it’s unfair, and why the hell he’s thinking about eyes of the man, who’s trying to murder him? Viciously. A la caveman. And who seems to not be completely human. 

“Wo-rking. Scho-ool dis-” Stiles tries to say, but he wasn’t lying, there isn’t enough air in his lungs, and those black spots probably shouldn’t be dancing in his vision.

“That’s a lie!”

“No,” Stiles manages, but that’s it. Man growls in his face again, but then the pressure is gone and Stiles takes huge gulps of air, hunched forward, hands on his knees, greedy for every bid of oxygen he can get. “Man,” he breaths out, “for a second there I was sure, you’re going to kill me." 

Aaaand those are claws. Yep. He’s probably still gonna die. 

"You’re lying. You are looking for it,” Derek accuses him and sneers. “Too late, it’s already been stolen.”

“Okay,” Stiles lets out maybe too harshly for his current position, “I don’t know what are you talking about, but I’m not a thief. My dad’s freakin’ sheriff, for fuck’s sake. Also where the fuck your eyebrows went?!" 

He’s not hysteric, okay. He’s not. He might be hyperventilating a little, but he can cope with crazy situations. He’s friends with Scott, that’s pro-training right there. 

Derek is looking kind of stunned, to be honest. Like Stiles managed to surprise him somehow. 

After a short moment, Derek speaks, "you didn’t know.” And well, there is a lots of things he could meant by it. His face changes back to more human-y shape, except the frown. The frown is probably default setting for every shape and form, Stiles guesses. He bends and picks his hat from the ground. It survived and that brings Stiles huge amount of relief. He tries to clean it from dust a little, but then he gives up and just puts it on.

There is a long silence, kind of awkward, if Stiles should be honest. Derek eyeing him suspiciously from head to toe and back. Then his eyes linger on said hat as he snorts. 

“Fuck off,” Stiles spits out boldly, because no one can scoff on his hat, okay. No one. 

“It’s ridiculous.” Derek doesn’t seem fazed by Stiles’ outrage, his eyebrows attempting some complex but foreign communication. 

“Says man with fangs and no eyebrows,” Stiles murmurs, because he has no sense of self-preservation. Seriously. Not even the smallest bit. “Also thanks for not burring them in my throat. The fangs, I mean. Not your eyebrows. Much appreciated. I’m Stiles, by the way.” He doesn’t reach his hand for a handshake, but that’s mostly because he’s not sure he would get it back. 

Derek snorts. “I take it back. That’s ridiculous.”

:y  i just wonder how many of the prevailing opinions of Toriel n’ Asgore stem from the framing of them from a game-obstacle sort of view? 

A really long character analysis under the cut- Toriel specifically, not Asgore.

# Undertale spoilers ahead! Seriously, maybe don’t read this if you haven’t beaten the game at least once.

(Jane you may or may not want to look at this. :u I’m critiquing toriel’s behavior by comparing it to Asgore’s actions in game, so I’ll leave it up to you. I don’t wanna make u have a bad time, so just… be aware.  )

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anonymous asked:

I have this headcanon that everyone in the seijo volleyball team has given Oikawa Tooru a piggyback ride at least once sooo could you please write a fic for this?

Matsukawa happens because they’re jousting with Kunimi and Kindaichi. How they decided to joust is a little harder to explain, but it seemed like a good idea at the time. (Probably it’s just the most logical conclusion when there are cardboard tubes laying around the gym after the campus beatification committee finished making posters.)

“Repent!” Oikawa shouts.

“Never!” Kunimi shouts back.

“Repent and bow down to the superiority of your senpai!”

“What the hell are you idiots doing?” Iwaizumi shouts.

The Kindaichi-Kunimi pair go down, mostly because Kindaichi is laughing too hard, but also because Oikawa knows how to wield a cardboard lance like nobody’s business and he’s gotten some pretty good whacks in.

“Victory is ours!” Oikawa crows, making a peace sign from his position, still on Matsukawa’s back.

Matsukawa is laughing too, but Oikawa will give him this—he’s very steady at giving piggy-back rides.


Hanamaki happens to prove a point.

After the joust, Watari asks, “What was the logic of Matsukawa carrying Oikawa?

“What’s that supposed to mean?” Oikawa demands.

“Er,” Watari says.

“Pure logistics,” Matsukawa says mildly. “Oikawa couldn’t carry me. And Hanamaki couldn’t carry Oikawa.”

“What? I could too!” Hanamaki says.

“Yeah, OK,” Matsukawa says, rolling his eyes.

“I could! I can carry all kinds of weight!”

“Hey! Also, hurtful,” Oikawa says.

Hanamaki crouches down with his back towards Oikawa, “Hop on.”

“I’m feeling a little put on the spot here,” Oikaway says. “This seems unnecessary.”

“Do it!” Hanamaki insists.

Oikawa obliges, because on principle, he’s not going to refuse if someone insists they want to carry him around, even if he still feels like he’s being insulted.

“Guys, at some point we actually have to practice,” Iwaizumi says.


Kindaichi happens as a punishment.

Kindaichi is late to practice—incredibly late to practice—and even though he insists it’s not his fault (“The teacher kept me! What am I supposed to do, ignore a teacher?”) Iwaizumi is very unforgiving. “You have to take four laps around the gym.”

There are various exclamations from the team—all things considered, this is a fairly light punishment.

“And you have to carry Oikawa,” Iwaizumi finishes.

What?” Oikawa exclaims. “Carrying me is not a punishment! He should be honored!”

“Guh, can’t I just do a hundred regular laps instead?” Kindaichi asks.

“No. You need to build your thigh muscles,” Iwaizumi says.

“I am not heavy!” Oikawa shouts. But he gets on Kindaichi’s back anyway, largely because of how horrified his kouhai looks at the prospect.


Watari happens before Oikawa even understands what’s going on.

“What? You think just ‘cuz I’m the shortest guy here I don’t have any upper body strength?” Oikawa hears Watari say as he’s passing by.

And then all of the sudden he’s being lifted off the ground, and he has to cling just to rearrange himself properly, and he’s on Watari’s back, the libero looking extraordinarily indifferent. “See?”

“But can you move?” Kunimi asks.

“Why am I always the test for this?” Oikawa whines, but they’re moving, so he just sighs. “Take me to the lockers then, will you?”

“Sure,” Watari says easily.

If this keeps up, Oikawa figures he might never have to walk anywhere again.


With Yahaba, it happens during training camp, while playing a round of the King game.

“Number five has to give number seven a piggy-back ride!” pronounces Matsukawa, the current King, and Oikawa eyes him with deep suspicion because while he can’t prove cheating, it did seem like a really big coincidence that he was currently number seven.

It is also, somewhat, ego-bruising (for both parties involved, Oikawa is sure) when Yahaba visibly struggles to carry out the task.

“I can do this!” Yahaba says, panting.

Oikawa feels, at this point, it would be a waste of breath to insist he’s not that heavy (even though he’s not) so the only thing to do is to make the most out of this humiliating situation with cheerful innuendo. So he clings suggestively to Yahaba’s chest and croons, “It’s alright, Yahaba-kun, darling, we are far too pretty to need brute strength.”

“You’re just fat,” Kyoutani snarls.


Although he only has his suspicions that can’t be confirmed, Oikawa is pretty sure Kyoutani happens because of jealousy.

The angry second-year forcibly drags Oikawa off Yahaba, tossing him over his shoulder and says, “Like this, God, it’s not that hard.”

Oikawa, who objects strongly to being carried like a sack of potatoes, wiggles until Kyoutani has no choice but to give him a proper piggy-back ride. “You are just fat,” he says.

Oikawa only smiles and says, “Mad Dog-chan, if you were so eager to give me a ride, you only had to say—”

Kyoutani promptly drops him. It’s worth it, to see the look on his face.


Kunimi ultimately happens because of peer pressure.

“Everyone has given Oikawa a piggy-back ride at least once,” Hanamaki says. “At this point, Kunimi, you’re just obligated.”

“The Captain hasn’t,” Kunimi protests.

“Don’t be stupid,” Matsukawa says.

“Come on, man, be part of the team,” Kindaichi says.

By now, Oikawa feels remarkably zen about this whole phenomenon. “It’s been an amazing bonding experience. I feel so much closer to each and every one of you who has carried me! It’s really improved my abilities as a setter for this team—”

“Fine, fine,” Kunimi says, rolling his eyes and crouching down. “All of you, just shut up.”


With Iwaizumi, the first time it happened they’re seven years old, when Oikawa fell near the lake and scraped both his knees. Even though Iwaizumi was shorter than him, he carried Oikawa all the way home.

The second time, they’re First Years in middle school, and Oikawa had fallen asleep watching old videos of their next opponent’s game. He’d woken up on Iwaizumi’s back, the other boy taking him home like it was the most natural thing in the world to do.

By the third time it happens, it’s routine. If Oikawa is exhausted, or sick, or hurt, Iwaizumi carries him home. After all those times, it’s just a thing they do. Easy, like breathing, like setting and spiking.

After Kunimi, Oikawa just turns to Iwaizumi after practice and says, “Iwa-chan, you should carry me.” He’s not hurt, or exhausted; there isn’t a reason at all except that maybe he just wants the contact.

And Iwaizumi does—without grumbling or protesting—there isn’t a reason but he picks Oikawa up anyway and they walk home like that.

“You’re not heavy,” Iwaizumi says out of no where.

Oikawa just buries his face in Iwaizumi’s neck, feels the warmth of his back, holds him so that there’s practically no distinction between where Oikawa ends and Iwaizumi begins. “That’s because Iwa-chan’s the strongest.”

And they don’t say anything else for the rest of the way home.

A/N: Thank you for the prompt, anon-friend! And headcanon accepted =D I hope I did it justice for you.

fromcainwithlove  asked:

ok I just finished boot camp p2 and wow lady I wanna yell at you so much hdy BUT! re: louis and lack of footage, CRAZY CONSPIRACY THEORY: what if he was a truly last minute decision? it's obvious from way downtown that the other four are gonna be important, and that can't all be editing. but what if simon et al originally planned a group of four? Louis's voice was by all objective standards the weakest and he thought we was going home from the start. maybe something v close to the end (tbc)

(cont) made them decide his presence would be good. OR, maybe simon had him in mind the whole time but thought he wouldn’t take the deal and it would end up a foursome. like the camera man saying it sounded like louis didn’t want it - for whatever reason I feel like they didn’t film him bc he wasn’t part of the plan, rather than him doing something to ruin the shots.


B) Quick disclaimer (NAH IT’S NOT QUICK I’M SORRY, but it’s honestly more about tag commentary I’ve seen on reblogs than it is about what you’re saying) because my wording on that part of the post never 100% sat well with me but it was SO LATE and I was SO TIRED and at some point you just have to let things stand as they are. Baaaaaasically I don’t think he would have ACTIVELY SABOTAGED any shots by pulling a face or whatever (although that one time he might have inadvertently done so by gesturing to Jay or even just by whatever look was on his face when she was encouraging him from the audience) so much as I think he kept himself in check enough that he might plausibly have shown ZERO outward indications of giving any fucks at all, which could be the reason he’s so much less visible than Niall - the others all had at least one segment devoted to them, but nearly all of Niall’s pre-group exposure comes from the fact that he’s REALLY open and expressive. When it came down to it, “people in reaction shots NEED TO ACTUALLY BE REACTING” was probably a higher editing priority than “make sure you foreshadow every single member of the Frankenstein groups” was.

C) BUT. BUT BUT BUT. BUT BUT BUT BUT BUT BUT BUT. I’M SO INTO THE IDEA OF THERE BEING NO FOOTAGE OF LOUIS BECAUSE HE WAS A LAST MINUTE ADDITION, because really, honestly, AND I SAY THIS WITH ALL THE LOVE IN MY HEART, why include him? Belle Amie were only a group of four, so it really could just as easily have been Niall, Zayn, Liam, and Harry. Except at judges’ houses you end up seeing EXACTLY THAT GROUP trying to function under pressure while Louis is getting his foot checked out, and it’s a total gibbering nightmare of stress and nerves.

Is it THAT FAR outside the realm of possibility that Louis was on Simon’s radar, if not as a personality or as a serious contender, then as someone who was putting the work in even though it might have seemed like he didn’t care? And if that was the case, it’s possible that the judges did decide on a four-person lineup before Simon went OKAY, BUT: ALL FOUR OF THESE BOYS CONSTANTLY LOOK LIKE THEY’RE ABOUT TO CRY AND/OR PASS OUT. Was there someone else they could add to balance it out and add some fucking chill? Someone maybe a little older but still around their age, someone who had shown over the course of bootcamp that they adjusted quickly and got along well with people, someone who was focused but didn’t seem to let the pressure get to them so easily? DID THEY HAVE ANYONE LIKE THAT AVAILABLE?

anonymous asked:

the boy I've been half in love with for 6 months just started seeing someone else, and I'm not feeling too great atm - could you maybe write something where derek and stiles meet/get together while one of them's getting over someone else? no worries if not! love you and your blog!

Okay, so maybe Stiles was trying to make Danny jealous. Maybe. 

But it’s not like Stiles went to the club that night with such intentions. Really. He just went to try and get over the guy, and if Stiles just so happened to meet someone else and Danny was there to see it, well, then, there was nothing Stiles could do about that.

And it wasn’t like the guy Stiles was currently grinding up against wasn’t hotter than the depths of hell. He could probably even be considered hotter than Danny, if Stiles was being objective about it. 

Plus, Stiles did feel an attraction when the man’s hands roamed all over his body, down his arms, down his sides to take a hold of his waist, down and around to squeeze his ass and pull him closer. Stiles was getting hard from all of it, true.

And so what if Stiles couldn’t help but look over the guy’s shoulder to see if Danny was watching, if Danny had stopped paying attention to his dancing partner too. So what?

It had only been two weeks, and Stiles wasn’t one who got over someone quickly. Although Danny seemed to be. All Stiles had gotten was one glance in his direction and a more appreciative look at the man currently sucking on Stiles’ neck than Stiles would have liked. 

Not that the man holding Stiles in his arms at the moment wasn’t something look at. Oh boy, was he. With black, straight hair neatly styled with gel, hazel eyes that were a stunning mix of green and then light brown around his pupils, and a stubble that made Stiles’ skin tingle deliciously and the obvious muscles, maybe even a six pack, beneath his tight black t-shirt, and an ass to die for, Stiles totally understood the appreciative glances this man attracted. 

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Little Things, 14

~1000 words a day. Unbeta’d. Ten/Rose. College/Uni/Roommates AU. Previous chapters here

Jack wished them goodnight at their door, and said he’d better hurry back and give Ianto a hand with the washing up. With a charming smile and a salute he was off.

(Who did that? John wondered in disgust, who actually saluted when they said goodbye?)

“What a specimen!” Donna declared.

Rose, too, was watching him go with a wistful expression. After a moment she said sadly, “I’ve sworn off men.”

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kingcornetto  asked:

Hey, I'm an aspiring writer with AS and I've said how much I loved your blog more than once, and that you're cool, but I'm still a teenager and I'm really sad all the time and detached. In your experience did it get better? Does it fuel your work?

It got better for me. It will probably get better for you.

Here’s the thing: Being a teenager sucks. People who tell you that these should be the best years of your life are fucking deluded. Your brain is a mess, and it’s not because you have AS (although that makes it harder, or at least hard in different ways): it’s because it and your body are in a stage of off-the-rails weird and rapid development. At the same time, intellectually, you’re pretty close to an adult, which makes it even harder to wrap your head around how transient and irrational the rest of the upheaval is; and you’re probably dealing with a level of social and personal pressure that would be enough to make most people come a little unhinged even without all the preceding baggage.

Which is to say: being unhappy is a pretty reasonable response to being a teenager. 

That said, if you’re unhappy to an extent that’s seriously impacting the quality of your life and your ability to or interest in living it—and especially if you’re considering harming yourself or someone else—it’s time to to seek support. I don’t know what your family or school situations are like, but you might find it helpful to have a therapist or another adult in a helping position who’s a little removed from your day-to-day life. Mental illness and the threshold for intervention are, for the most part, issues of degree: anywhere short of a crisis, what constitutes a tolerable level of discomfort or lack of comfort is a call you’re going to need to make, or at least be part of making.

Apropos of making that call, here are some things I wish someone had told me when I was your age, although I’m not sure I’d have listened. Your mileage may vary:

Unnecessary suffering is not productive, virtuous, or mature. That is a lie we tell poor people and artists, because romanticizing misery is a great way to quash revolutions before they start. Don’t buy in.

It’s okay to want to be happy. It’s not selfish—and, if it is, well, fuck, it’s also okay to want things that make your life better. It does not make you a bad person, and seeking help is not a shortcut or cheating.

It’s okay to like things that are not productive. I know, right? This is pretty obvious. But until I was in college, I was deeply suspicious and ashamed of any happiness that came from things I saw as frivolous. Permission to enjoy things regardless their social value is, for me, pretty fundamental to spanning the gap between functional and okay.


I spent most of my teen years spiraling towards and through a breakdown. The year I was 16 was, by any reasonable subjective or objective standard, the worst year of my life. At 31, I’m pretty happy: there’s a lot I still have trouble with, and a lot I’m still figuring out, and I don’t have all my shit together, but I can live with all of that in a way I couldn’t 15 years ago. There are other factors that have contributed to that, but the most significant by far is time. Who I am now is not someone I could have been at 16, or 26; I imagine that in another few years, I’ll be able to say something similar about 31. Being a person, and being any good at being a person, is an ongoing, very cumulative process. You’re really early on. In video game terms, you keep getting killed in the ice caves ‘cause you won’t get the fire sword for another few levels.

I saved the last question—whether it fuels my work—for last, because that’s still really painful and difficult territory for me to navigate. I am an incredibly private person, to an extent that swerves pretty far into dysfunction, and that heavily informs what I do and don’t write publicly about. At my best, I would like to be braver, but that exchange—trading privacy and control for a wider scope and probably better work—is one that’s very difficult for me to convince myself to make.

On the other hand: Where I’ve been is, inextricably, part of who I am, and who I am inextricably informs what and how I write. And who I was and how shitty my life was when I was a teenager has definitely and directly fueled what I’m writing to you right now.


Be patient with yourself, and what you feel, and who you are. All of them are worth honoring, and all of them will change.

So Much Love,

Bitter End: Taehyung [Pt.5]

Genre: Angst

Word Count: 1.8k

Total Summary [Pt.1-Pt.4]: Taehyung cheats on you which leads to you breaking up with him but then you decide to take a form of revenge by cheating on him as well with his best friend… now you’re left with a guilty conscious 

+What have I done?

His come clean… his conscious is clear,

Unlike mine

>> Part.1 | Part.2 | Part.3 | Part.4 | Part.5 <<

“Y/n?” Taehyung knocks on the door breaking you out of your train of thought, “You alright in there?” “Uhm… Yeah, I’ll be right out” you flush the toilet to make seem as if you did something in there when in fact all you did was stare at your guilt ridden expression in the mirror

When you walk out you find Taehyung in the kitchen about to ask him what he feels like doing tonight when his phone rings, sending cold shivers down your spine because you thought it was Joy phoning to tell him about your betrayal but when he laughs instead of looking hurt or angry you relax a bit.

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Episode four: in case you don’t remember what happened at the end of episode three, don’t worry, there’s a flashback for that.

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The dynamic between Beverly and Will is so interesting right now–and it always has been, really, but especially so given recent developments.

It’s Beverly’s job to know when the pieces don’t fit, when some parts of the puzzle have been superimposed and belong to a different solution. Beverly’s a woman who’s extremely good at her job–she’s excelling in a male-dominated field because of a mix of very hard work and natural instinct. She’s trained to see little irregularities–a piece of hair among the stitches of a suit, a little bit of shrapnel where it doesn’t belong, some foreign fibers in a corpse’s wounds–and that carries over to her way of thinking. So she can sense when something is wrong, as it is with the whole Will-is-the-Chesapeake-Ripper situation. And, of course, being Beverly, she does her job here too–interpret and further explore the evidence, not just gather it.

That development has yet to occur, but there’s no doubt it will–and not just based on the previews. Because when Beverly sees Will, she doesn’t treat him like a murderer, regardless of the fact that she found the evidence for this. She’s apologetic in her phrasing when she mentions the topic, even: “I’m not sure how I feel about seeing you, now that you know what I do.” What she does, being, of course, finding the evidence that incriminates Will. So we know, of course, it’s not that she’s just ignoring the problem, because Beverly has seen the “facts”. She discovered them and brought them to the FBI’s notice. Which means, consequently, that she is acknowledging them, but that she finds something to doubt about the conclusion they point to, as she goes to see Will anyway and chooses to treat him with none of the hostility one might expect from someone in her position–ostensibly betrayed by a close friend with all the proof that he is guilty held in her palm.

Because Beverly views the world objectively, but science is not limited to laboratory work. It’s a practice of objective observation, and Beverly is constantly looking at her surroundings through such a lens. So when she looks at the facts, Beverly’s looking at the incriminating evidence, but she’s also looking at her own experiences with Will:

When Beverly looks at Will, she still remembers his air of nervousness when he called her to the Georgia Madchen crime scene in the middle of the night. She knows that Will–at least, the part of Will that she has seen–is incapable of committing these murders. There’s no logical reason for Will to call her and tell her that he’s lost time and needs her help to ground him and help him if he’s not being fully truthful with her. She knows he’s scared of losing time, and while she’s not entirely sure she can trust who he is during those intervals, she trusts him when he’s Will Graham as she knows him, when he’s slightly unstable but still Will.

So when Beverly goes to see him, it’s because she trusts that he is still, at least in part, the Will Graham that she knows. That Will, furthermore, is someone who wants to help people–it’s the reason he stayed at the FBI past his breaking point. The case files she brings are there in part because it’s practical to get Will’s help, and Beverly is a woman of science and practicality, but also because Beverly knows it’ll help Will. Helping on the case, talking with her about something other than his dubious innocence gives Will a sense of a return to normality, and that’s, at least in part, what he needs. Will needs to be grounded, and she grounds him, because Beverly has an air of practicality about her that is much different from all of Will’s other contacts at the FBI. Beverly isn’t a psychologist, and she doesn’t talk in flowery metaphors. She’s not trying to psychoanalyze Will or figure out what’s going on inside his head, because that’s not what Beverly does.

Beverly is helping Will the way she knows how–grounding him in reality and normality–and that’s exactly what Will needs. Beverly knows it, too, because Will’s basically told her all this before–at the Georgia Madchen crime scene. Because when Will needs to be grounded, Will calls Beverly. So when he can’t call her, Beverly comes anyway.