if you like your villains falling in love with your protagonists

Anonymous said: So i love your “protag breaking down in front of the antag” prompts, do you think you could maybe do some of the reverse? The antagonist breaking down in front of the protagonist? 

dentist-why said:Could you do the villain breaking down in front of the hero because they don’t want to be a villain. (P.S. your blog is so good you are such a great writer.)

Anonymous said:Your protagonist breaking down in front of the antagonist prompts are fantastic! But, maybe to mix it up, could we get some antagonist breaking down in front of the protagonist prompts? (Unless they’ve been done before, I mean)

1) It wasn’t an obvious or sudden shattering. There were no tears, no screams, no heaving breaths. But something in them seemed to have just crumpled. And people could make a lot of jokes about the antagonist being heartless but they weren’t hollow like that. The hero watched it happen, barely aware of it at first - the way a person didn’t notice a cliff being eroded or the colour leeching from an old painting when they saw it so slowly. 

2) “Go on then,” the villain said. They wet their lips, eyes aglow with an almost mania, a fever. “Kill me.”
It was a horrible moment to realize that they weren’t being taunted or mocked or dared - they were being begged.

3) “Tell me what happened, please.”
“What does it matter?”
“Of course, it matters. I’ll-”
“You’ll what?” the villain tried for a smirk, but it was all wobbly and then pressed thin as if desperate to hold back a sob. They swallowed hard. “It’s not crime when it happens to bad people, it’s justice. Karma. Just the way the story goes.”
“You don’t actually believe that.”
The villain glanced up, the look on their expression heartbreaking. Because oh, they actually did. And oh, they looked terrified.
The hero’s teeth gritted, and they crowded a little closer, lowered their voice. “Look. If someone’s hurt you - told you that - if someone’s got something on you-”
“Oh, don’t you know, hero?” this time, their voice really did crack. “No one’s ever got anything on me.”  
It was enough, they’d seize hold of the antagonist in a moment. “Let me help you.” An order, not a plea this time.

4) Being them, they weren’t allowed to splinter. They didn’t have friends to fall back on, they didn’t have a safety net, the people of their court had no mercy towards the weak or the stumbling. To slip, to mistep, even an inch was to beg the wolves to fall on his throat. In a room of predators there always had to be prey and they’d vowed never to be prey again. They would never be seen as weak again.
“I’m sorry,” they said, as the protagonist’s door opened. “I know I shouldn’t be here. This was a terrible idea-” they took a step back, regretting coming already. It was foolish.
The protagonist caught their arm and reeled them inside. Gently. So gently.
It was the gentleness that did it and the next second the antagonist was in tears. Hideous, world bent out of shape, tears.  

5) “I’m fine,” the antagonist said.
“I’m fine.” They’d just said that, and the protagonist was starting to look concerned. “Just fine. Everything’s going to be fine.” Oh god, they couldn’t stop saying it, couldn’t stop gabbling it, couldn’t breathe over it choking on that word. Fine, fine, fine, always perfectly fine.

6) The villain’s lungs strained for air as the hero slammed them up against the wall, face inches away. Fear licked up their spine.
“You’re sorry?” the hero spat. “Sorry doesn’t even begin to cover what you’re going to be for what you’ve done. You don’t get to cry over your guilt - you’re not one who got hurt.”

7) They knew it was wrong, they knew they shouldn’t like seeing the antagonist like this. A shell of themselves, fragile, held together by stitches. But oh they were so pliant like this. So scared of doing wrong and so desperately needing reassurance.
“I forgive you.”
“It’s going to be okay.”
“You’re not a monster.”
The hero had never felt so addictively needed in their life, so redemptive, so powerful to have the villain breathless and overwhelmed with the smallest of kindnesses. They felt like god.

fake it ‘til you make it

*request —> Anonymous said: could you write a fic where you’re fake dating jaehyun to get your parents off your back about “having a boyfriend” and then you fall for him in the process and then you admit it in your parents house or something???

Originally posted by tee-yong

author’s note: 1,344 words. who would fake date jung jaehyun not me definitely not me Σ(‘◉⌓◉’)

Keep reading

1. Use the lyrics of your favorite song as the basis for a short story. 

2. Write a mystery. Start with a question and write until you answer it. If you don’t know the answer: even better. 

3.Tell this story: “And it was that exact moment that the power came back on…" 

4. Write a scene that starts with the line, "Darling, stop." 

5. Write a scene that happens right after a tradegy. Don’t mention the tragedy. 

6. Go to your nearest book. Turn to page 51. Find the first line of the last paragraph on the page. Use that line to start your scene. 

7. Write a story that starts with a word you picked out of a dictionary at random.

8. Write a scene using the line "Wait, these codes aren’t right." 

9. Use this in a scene: All I heard was "I swear it will be funny…”  and then we were in jail. 

10. Write a scene where your Antagonist stumbles upon someone from their past. Someone they tried to forget. How has time changed them? 

11. “So… I wasn’t supposed to press that button?”

12. Tell this story: “It was less than a second, maybe half a second, but it changed everything." 

13. Write about this: They sent me because I don’t exist.

14. Your story has to include this line, either at the beginning, middle, or end: ”…but if anyone asks, tell them we’re fine.“ 

15. Write about the sound of winter.

16. Create a character that is a villain to both your antagonist and protagonist. 

17. Shuffle time!! Put your music on shuffle and start writing. Everytime the song changes, change the mood of the story to match the music. 

18. Your character falls down a flight of stairs. What happens? 

19. Write about the morning after the day she died. 

20. Write a scene that takes place on a subway. There are five stops in the scene. 

21. Write a story that starts with a screech. 

22. Write a short paragraph ending with these words: He would give anything to turn back the clock five minutes.

23. What if the story started with this? The bomb exploded. 

24. When they were young, your Protagonist made a promise they weren’t able to keep. What was it?

25. Describe a character twice. Once to fall in love with them, then again to be repulsed by them. 

26. You are a kid’s imaginary friend. He’s growing up. You’re fading away. 

27. At birth, everyone has the date they will die tattooed on their arm. You were supposed to die yesterday. 

28. A little girl is terrified of the monster under her bed, but what she doesn’t know is that the monster under her bed protects her from the true monsters - her parents. 

29. Everyone human being is born with a birthmark signifying a great deed they are fated to do in their lives. Your first child has just been born with the mark of a murderer across her face.

30. Prompt: This is what the darkness promised. 

31. Write a letter to someone who doesn’t like you. 

32. I woke up to hear knocking on glass. At first I thought it was the window until I heard it come from the mirror again. 

33. Suddenly, all over the world, all children start drawing the same thing over and over again. 

34. Write about a character who can’t keep secrets. 

35. At the beginning of mankind, there were only zombies. They began to evolve and have a human apocalypse. 

36. You run into the gym and mysteriously find yourself in a forest. You learn you have been granted one super power. Describe your journey home. 

37. Write about this: What would you do if you weren’t afraid? 

38. What if tattoos just randomly appeared on our skin at key points in our lives and we had to figure out what they meant for ourselves. 

39. Write down who you were, who you are and what you want to remember. 

40. Write a scene that starts with: "I haven’t told anyone this before, but I’m going to tell you now.”

41. Write a scene using this line: “I saw what was in his mind. I know what he’s planning.”

42. Write a scene only using dialogue. Start with the line, “What do I do? He’s been there all day." 

43. Write dialogue - two people. They both say "I love you,” but only through subtext. 

44. Write a scene using these dialogues: “Do you trust me?” “No.” “Smart man.”

45. Dialogue Prompt: “I’m trying my best to be polite, but if you move that knife a centimeter closer to me I will tear you apart." 

46. Use this as inspiration for your next scene: You ruined me. I plan on returning the favor. 

47. Have one character convince another to do something incredibly stupid. 

48. Dialogue Prompt: "What’s the little blinking light mean?” “It means… wait, blinking?" 

49. Dialogue Prompt: "Now remember, if you hear ominous chanting, the appropriate response is to run." 

50. Dialogue Prompt: "Shit, man, we brought the wrong kid.” “You’re kidding me." 

Have fun writing!

Posted: 10 January 2015

Last Updated: 10 January 2015

anonymous asked:

So I want to start writing down my daydreams just so my brain doesn't feel so clutered but I honestly have no idea where to start because there soo much!! Any tips?!? (Love your blog btw)

Sorry this took a while! I don’t know whether you’re a linear (only have one universe) or whether you’re a multiverse (multiple universes). So I’m gonna split this into two and I hope that one of them can help you!

How to write a multiverse:

  1. Choose which one of your universes you’d like to write. This can be tricky because sometimes you just love all of them so much, but try to choose which one is your favorites. You can choose more than one! Try to list all of them that you like. The less the better.
  2. Pick the easiest to be written. This means looking through your daydreams and see which has plot holes, inconsistent depth, less character developments, and the least complicated ones.
  3. Make sure to not mix your daydreams up. List things that you’d like to write and make sure that it’s not from another universe. Keep the consistency of your world and make sure it’s not getting mixed up. This might happen because sometimes you just… forget.
  4. List all of your characters. List all of your characters that live inside that universe so it won’t be mixed up, again. Also, write their personalities so their personalities won’t get mixed up with the other universes’ personalities. This usually happens if you put the same character in different universes.
  5. Once you figure it out, check the next step of ‘How To Write A Linear Daydream’! Now that your daydream world is linear, check out the next step.

How to write a linear daydream:

  1. Write down the foundations of your daydreams. This might be tricky but it can be written down. Your daydreams’ foundations are basically what your world is made of - the origins of your world. Is your world just a normal day on Earth or a galaxy full of planets? Is your world like what we live in or is it like a giant empire? Write down the systems and how life works in your daydream so it’ll be much easier to be explained on your story. This step will make you much easier to write down your story because then you won’t find any trouble or plot holes while writing it.
  2. Which part of your daydreams do you want to write? Do you want to start from the beginning of your world or do you want to jump straight right into a para’s life? For an example, my daydream consists of superheroes who protect their world. Now, do I want to start from how the first superhero was born/made or do I want to jump straight into one of the superheroes’ life in a specific timeline? I have a very big trouble with this one too. Writing your daydream from the beginning will be much easier to be written but it’ll end up very long if you want to write it from the beginning until the end. But writing a specific part of your daydreams might confuse the readers too unless you explain how the world works inside your universe and etc.
  3. Write down every kind of detail you’d not like to miss. By every kind of detail, I mean everything. Write down details you usually tend to forget and that you’d not like to miss when writing your daydream. Like what exists and what doesn’t, and etc.
  4. Just in case, write down the timeline you’d like to write in book one. Mostly, people won’t write everything in just one book - you have to split it up! So write a timeline and split them into bunch of scenes so they won’t be too long and you won’t be too carried away. For instance, I’m going to write a book about how a character goes on a war. In that book, I’m going to write how the war starts, what causes the war, how it goes, and how it ends. In the end, I’m going to write either a cliffhanger or a solid ending, even though there’s still another part after the war ends I haven’t written yet. Now that part after the war ends will be in my second book, and that cycle will keep repeating every time you make a book and the sequels. Splitting this will help you write it better.
  5. Who will appear in your story? Write them down on a paper! Write all of them down on a paper so you won’t forget which one will appear and which will not. Also, write their personalities and what they’re supposed to be and do inside your story.
  6. Who’s the main character? Who’s the secondary character? Who’s the protagonist? Who’s the antagonist? Write all of them down on a  paper! This will help you so you can keep the consistency of your story.
  7. Explain your characters’ backstories. Yes, including the villains. The readers will get your story more if you explain the backstories of your characters that are relevant to the main story. Why is your character acting so stubborn? Write that on a paper. Why is your villain so evil? Write that on a paper. Remember, the readers want the characters to have a lot of development and it’s much better that way.
  8. Write your timeline using 5W+1H! (Where, when, why, what, who, and how) What’s the main idea of your story? Explain it in a few words and then expand it. How does it start from the beginning? How can your story happen in the first place? Where does it take place? When? Why does the main villain do this? Who does this? And the questions go on and on. Write it with some kind of arrows or ordered bullet points so you know which direction your story is heading.
  9. What’s your main story? Don’t let any kind of disturbance ruin the story. What’s your main idea? Write them down so such things as extra comedy or romance won’t ruin it, unless if you’re heading towards those paths.
  10. Choose your genre! Do you want it to be a fantasy? Romance? or horror? This will help you on keeping your story’s tracks so, as number 9 says, some disturbances won’t let your true genre falls apart.
  11. Sequels? Sure! Why not? Sequels are good! But keep them as entertaining as the first book. Make sure to not let it fall apart.

Additional Tips:

  • Scared of plagiarism? Don’t be! Write down some aspects from your daydreams and change it, remove it, or alter it. Or make it less noticeable. Such as names and scenes and dialogues.
  • Don’t write what you don’t know. Sometimes you have to do some researches especially if your world takes place in our world. Researches are important.
  • Don’t write what you can’t. If you don’t feel like you’re capable enough to write it, it’s okay. Brains are weird and sometimes it pushes me to write something I don’t want, but you should not do that. Write only what you can and want.
  • Practice! Practices are good. Practice and read more books (okay, the second one might be a little bit hard) so you’ll be able to do it better.

Good luck! I hope this helps.

madd information
In which I live-blog Crazy Ex-Girlfriend

Okay. Here we go.

Can I get more Heather and Valencia this episode? Please?

Oh, Rebecca. So many unresolved father issues.

Wait? Paula made that veil? What a gem. What a fantastic human.

Rebecca, I know you’re SO HAPPY but this wedding CANNOT happen.

I mean, this wedding isn’t going to happen, right?



You know Josh, you’re not the brightest, but thank you for recognizing something’s up and that Rebecca’s has done a complete 180 in regard to her newfound idealized vision of her relationship with her father.

You still shouldn’t marry Rebecca, though.

Stop being cute. I refuse to ship this.

Oh, God; she’s said her life is practically perfect. She’s happy. How is this all going to fall apart?


Oh, God.

Josh is a stand-in for her dad.

No, not like that.

Just that she had abandonment issues regarding her father and that Josh is her way of fixing that. Like, by him sticking with her, she can mentally erase what happened with her dad by making Josh the primary male figure in her life. Just like “A Boy Band Made Up of Four Joshes” in season one suggested-that every guy she dates is just a stand-in for her dad.

This show, guys. It’s so good.

Robert? Who tf is Robert? Was she engaged before? Interesting

Darryl’s in the stag party, God bless.


Looks like Rebecca’s not the only one with an unhealthy relationship with her opposite-sex parent. (Lookin’ at you, Hector.)

White Josh is right; last two people who should get married.

WiJo is not into marriage; of course. Kids, yes, marriage, no-Darryl is going to be so upset.

But, you know, actual conflict that couples have to deal with is good, so props on that. I’m excited to see where their storyline goes. And, you know, I think there’s something to be said for not having to “legitimize” a relationship by getting married.

But I also really want them to get married at some point, so…

But, you know, it’s fine. Because I trust the creative team on this show-I trust them in whatever decisions they decide to make.

Wow, I have literally never said that about a show before. Good, job, Crazy Ex-Girlfriend Team. (This show is the best, you guys.)

I love Father Brah. Like, legitimately so much.

Shut up, Naomi; Valencia is great.

“Hootenany.” I’m so glad Valencia’s vocabulary is this way.

All of these guests, but no Trent? I was promised Trent. Where is Trent?

Did she just…pop her foot while hugging her dad? WTF?

Aw, Scott and Paula went together. As much as I don’t like infidelity plots, I’m glad they’re working things out.

Naomi is dishing. It. Out. I wasn’t aware how much I loved her before this episode.




Is he trying to be a Nice Guy ™? Or does he just want approval because he also has father-based self-esteem issues? In either case, he really needs to shut up.

Hmm…accepted to Harvard, Robert happened, went to Yale instead? GIVE ME ANSWERS

Yeah, she’s an enigma because she kept one obviously traumatic event from you, Josh.

He thought….

The dance instructor thinks Rebecca is marrying her dad. Wow. And she finds it funny instead of being freaked out (presumably because a stranger sees an emotional connection between them and she’ll take anything she can get at this point)? Can this show get any more blatant?

My poor, little problematic protagonist.


No wonder Rebeca has so many issues. Her own parental unit only came to her wedding in order to ask her for some fucking money. God, I hate this show.

(That’s a lie; I love this show with every single atom in my body.)

Thank you, Doctor Akopian. Dr. Akopian is the hero we all need. #AkopianforPresident

Oh shit, Robert the mysterious ex-boyfriend was her TEACHER?! (I mean, she said “I dropped out of your class” and “You said you’d leave your wife,” so I assume…)

Oh, no, Rebecca. You did not drive your father away, you were eleven. You were not a needy child. Someone give this poor woman a hug.

Forget about the past? I do not like this. I don’t trust you, Silas. I’ve got both my eyes on you.



So, this wedding can’t happen, but I don’t want Josh to be the one to call it off because I know that will utterly break Rebecca.

But I also don’t want Josh to be sad because he’s trying his best.

Yes, communication is good. Thank you, Father Brah.

This conversation is going to be a time.




Okay, this show wins all the awards. All of them. Everyone else can go home.



Please, talk to each other. I don’t ship you, but you need to have this conversation.

I am actually legitimately scared; I have no idea what is going to happen.

This friendship is so important. Paula and Rebecca, I mean.

HAHAHAHAHA DON’T ASK ME I’M JUST A DUMB COWBOY WHO LIKES WEDDINGS Darryl is my favorite. Like, actual favorite on this show.

WiJo, maybe you shouldn’t argue about it, but you should talk. Discussing where your relationship will go is important for couples everywhere.

Heather’s directness and honesty is everything to me.



Why is this show like this? Why did I sell my soul?

…I hate this.

Josh, no. Don’t just leave. You need to talk to Rebecca. Trust me, it will hurt her less than if you just don’t show up without an explanation.

I am so here for all of Rebecca’s friends being willing to rip Josh apart for abandoning her.

“With someone else, but it’s not what you think?” Is he dead?



…Because Father Brah said it was the answer to all of his questions about life and Josh thinks this will solve his serial monogamy problem.

I…honestly didn’t see that coming.

Oh, no. Rebecca is thinking about jumping. I can’t do this. I cannot do this. I asked for a silly musical show that deconstructed romantic comedies, and I did NOT ask for this.

Aw, she admitted she loved Greg while he was here. This makes my heart happy. They were not good for each other and shouldn’t get back together, but I’m glad she acknowledged his importance.

Okay. So, Robert was her teacher, he broke up with her, she tried to burn his stuff and got tried for arson, and the judge agreed to strike it from her record if she sought mental health counseling. She went to a mental institution and did the whole drug cocktail thing, and that explains why she was on so much medication at the beginning of the show and couldn’t feel anything.

That…makes a lot of sense, actually.


Oh, God, this is so important. Everyone in Rebecca’s life left her because of their stuff, not because of her. And it all starts with her father walking out.


Oh, thank GOD.

“You’re crazy.” “Little bit.”


“Have fun flying coach, dick.” Oh, Nathaniel. You know, I just might come to like you.

Destroying Josh Chan. What is she planning?





Well, at least we got renewed for season 3.

I look forward to it.

And, I gotta say: Rebecca hating Josh is a new dynamic I am beyond excited to explore.

Peace out. This has been a Liveblog No One Will Read.

Aaron’s Top 7: Attractive Animated Males

I’m not a fan male designs in animation. At least, not in the way I’m going to be judging them in today’s list.

Originally posted by none-tadashi-left-hiro

Previously, I did a top 7 list of attractive female characters. The problem I had with that one was selecting characters based on personality over design with cosmetics being an aesthetic factor. With this list, the issue is reversed.

When you think of a male anime character, you think of a slim guy with slumped shoulders and a soft face. Any character that’s ‘masculine’ is often to an extreme to show how muscular they are. The point is that they look ‘pretty’. Just about 70% of male characters in anime can easily be redrawn as a girl. 

Which brings me to my issue with male characters in western cartoons. I can look at them and immediately tell who the protagonist is. You’re the comic relief. You’re the wise old mentor. You’re the token black character. Either that, or they’re animals. I like Stan Pines from Gravity Falls because they put a spin on the grumpy old man trope making him a greedy conman who doesn’t stop conning people as the show goes on. But design wise, I see him and go, ‘you’re the grump with a big heart’. And before you ask, no, that old dust buckle is nowhere near this list.    

I just became numb to designs of a lot of male characters since there’s so many men outnumbering females in media. I don’t really think about which one stands out. I’m just seeing how the character develops in the show. 

‘Nerd who wants to prove himself and has some sort of famous/prestigious family/background’. Let me guess, you just named 20 male characters in your head didn’t you? So why am I doing this list? Well, here are some characters who have a design that I found interesting with personalities to match. 

Same rules as the women’s list: 

Character comes before design. 

No villains/antagonist. 

Characters must be 18+.

It’s my list so if your hubby isn’t here…too damn bad.

Originally posted by insane-addiction

Guys Gals & Non-Binary pals, this is Animated Aaron’s Top 7 Attractive Animated Male Characters.

Honorable Mentions:

Originally posted by christopher-reeve

John Stewart/Green Lantern-Justice League; Justice League Unlimited 

Originally posted by goku-z

Scar-FMA (Franchise) 


Originally posted by vgeta


He’s a fucking idiot. Know that you know why he’s at the bottom, he’s actually got one of the most unique designs in anime. As I said before, anime men are fucking twigs with slumped shoulders.

Goku is actually muscular in a way that isn’t comical like in most cartoons. He’s build like an Adonis, true, but he’s still very close to how a real human would look opposed to the over the top shit in stuff like ‘JoJo’s Bizarre Adventure’ or ‘Kenichi-The Mightiest Disciple’.

That being said, everyone tries to emulate the character. A big/powerful guy who’s as gentle as a bird and believes in the good of others while holding his ground for his beliefs. I’d like him a lot better if this dynamic didn’t create so many clones of the guy. Naruto, Luffy (One Piece), Gon Freecss (Hunter x Hunter), ect.  


Originally posted by leeminlimer

Spike Spiegel-Cowboy Bebop 

Alright. So while Goku is built like a brick house, Spike here is more on the slim side. Most men in anime don’t look like their balls have dropped despite being ‘martial arts experts’. Spike isn’t stacked but the few scenes where he’s shirtless prove that he’s got some meat. Again, he’s more how someone would realistically look given his fighting style. He’s quick on his feet and loose with his punches. He’s actively trying to wear the person down but knows where to hit them for a k.o if he’s in a hurry. 

He’s cocky but doesn’t go around bragging about his skills like most protagonist. Rash and impulsive but isn’t hyperactive. He’s just a cool dude with a checkered past. If the situation gets the best of him, he’ll let his wounds heal and go at it again. If there’s money involved that is. 

Whatever happens, happens.  


Originally posted by diolazuli

Takashi Shirogane-Voltron LD

Keep reading

anonymous asked:

Hello, how are you? First of all, thank you so much for your blog, it is very useful :-) I am outlining a novel and I have run out of ideas in order to make the plot more complex. Mi main character need to find a weapon to destroy the villain (similar to Horrocruxes of Harry Potter). What kind of obstacles she could have? Thank you :)

Hey darling! I’m well thank you, I hope you are too? I really hope I can help you out because this sounds awesome XD

So, at first, I wasn’t quite sure if you wanted ideas of what the object(s) might be, or ideas for developing the characters adventures. I am guessing it was the latter, but feel free to correct me if I’m wrong, hehe.

So your character is on an adventure (or similar) to find a certain weapon that will destroy your villain? I’ll write a little list of some encounters she might fall upon on the way, I hope that might jog something in your brain! Here we go:

  • Temptation. Things to throw her off her trek.
  • Panic/anxiety. This may be a bit too much like The Hunger Games, but what if you had voices of close family and friends or apparitions to make her think they’d fallen to the afterlife?
  • Encounters. Strangers, friend or foe, people looking for something too, etc. Who might she meet? How do they affect her journey? what kind of character are they?
  • Fights, self-defence. Does someone come to rescue her? Does she suddenly recognise her opponent? Does she become friends with her opponent afterwards?
  • Does she travel with anyone? Keep in contact with anyone? Who does she interact with throughout the story?
  • Who are the supporting characters/ minor characters and how might they impact her life/adventure?
  • Redemption? Interpret that one how you like XD
  • Riddles or mazes she must complete or cooperate with to continue her journey.
  • Traps?
  • Certain powers or abilities she has been granted with? Who is on her side and wants to help her kill the villain?

Okay, so think about who else is in your story, it will help out a whole bunch! Who does the protagonist trust and/or love? Think about who your characters role models are and how they might impact her, or alternatively, how her villains could be motivating her unintentionally. Much like myself when someone tells me I can’t do something- I’m going to do it…! This probably didn’t help a whole bunch, so definitely message me if you want to chat it through! Good luck darling, lots of love from Yasmine xox

My Goodreads review for Not Your Sidekick, by @authorcblee

Once I started reading this book, I just COULD NOT PUT IT DOWN. Seriously, it’s SO good. This story has everything: mystery and intrigue and secrets, crushes and mutual pining and the awkward does-she-like-me-or-not dance, superheroes and villains (who may not be what they seem), food descriptions that will make your mouth water, and, above all, a feisty and snarky protagonist whom you will instantly fall in love with and root for. So hard.

Jess is amazing. She’s struggling with being the middle child that neither parent pays much attention to, the unremarkable girl that either doesn’t get noticed or gets snubbed at school, the girl that doesn’t live up to the expectations set by her older sister. And yet, she doesn’t let any of that get her down. She keeps her chin up high and doesn’t give up, even if things don’t go her way. Very admirable. She also manages to keep an open mind, in spite of being indoctrinated from a very young age.

I also love her friendships with Bells and Emma and Abby. They have each other’s backs, and they watch contraband stuff together and go on rescue missions together - *happy sigh*.

Yes, this is entirely my kind of story. So… The only question that remains is: when’s the next part coming out? Soon, I hope?

Top 5 Underrated Anime to Watch for Halloween

Happy Halloween everybody! I know that I usually would open the askbox or do some kind of event for the holidays, especially my favorite one, but I just didn’t have time this Halloween and think that I have enough requests in the askbox to work on without adding others. So I decided to continue with this new thing I’m doing or anime analysis with a recommendation of the top 5 underrated anime I think you guys should watch this or any other Halloween. I worked hard on this so please enjoy!

5. Majin Tantei Nougami Neuro

Originally posted by benjandan

This is probably my favorite series of all time. Written by the author of Assassination Classroom, Yuusei Matsui, Majin Tantei Nougami Neuro is an occult detective fiction that tells the story of Neuro Nougami, a mystery-eating demon that, due to eating all the mysteries in demon world, comes to the Human World to find the ultimate mystery. With the help of teenager Yako Katsuragi, he founds a detective agency and the two go around solving cases around Japan. It’s not so much a straight-up horror or Halloween-themed show, which is why I have it so low on the list for how much I adore this series; it has very dark comedy and the characters definitely come across a lot of horrible things and characters as they investigate murder after murder. It’s a villain of the week type of show with a few recurring villains, especially when you go farther and read the manga, but you’ll, as messed up as it is, never get bored with the way the antagonists murder their victims. The show is highly stylized in just the way I love and the main characters Neuro and Yako have an amazingly original and fun friendship you loved to watch. The recurring protagonists are dynamic and original (one of them is a sentient braid of hair named Akane), the story arcs are fun, and it expertly plays hopscotch with the line between light-heartedness and fucked upness in an absolutely delicious way that makes it a juxtaposingly dark and fun show with the same weird, wacky, and twisted humor of Assassination Classroom, but about demons you won’t be afraid to watch at night but will definitely get you in the dark and spooky mood. I cannot recommend it enough.

4. Blood: the Last Vampire

Originally posted by shultzmanganime

The Blood Series (Plus, C, etc.) are an anime Halloween classic and the original animated film did not used to be considered underrated at all, in fact, it was a staple, and for good reason! The artwork is beautiful with a stylized realism and amazing shading work that is just stunning to see. And the animation is just as smooth, crisp and realistic to match. The story is actuall pretty compelling and scary too, and pretty straight-forward. In the year 1966, Saya is the last of the pureblood vampires and is a stone-cold badass that spends her days killing the blood-sucking, bat-demons: chiropterans. The story takes place on her mission at a high school near the Yokota Air base where she is to pose as a student and hunt down the hiddern chiropteran. It’s a straight-forward but bloody story with terrifying artwork and just amazing direction, writing, and animation in both the sub and dub that, despite its loss of relevance over the last 16 years, still holds up remarkably well. If you’re looking for something bloody, edgy, and dark that isn’t Hellsing, this is a classic place to start.

3. School Live!

Originally posted by lilium

If Japanese Horror has taught us anything, it’s that it can do a whole lot, by showing very little, and School-Live freaking nails that concept. The series follows the girls of the Megurigaoka School Living Club, specifically the super cheerful and optimistic Yuki Takeya, who experienced delusions of a regular moe-moe school life while the girls live in the midst of a zombie apocalypse. It tricks the audience by setting the show up like a traditional moe club girl anime to be fully immersed in Yuki’s delusions, but tbh, I don’t feel totally guilty spoiling that because it’s pretty easy to predict that there’s something seriously wrong with it about five minutes in and it’s one of those shows you really enjoy a lot more once the secret it out. It’s ridiculously smart in the way it portrays it’s zombies and horror, far more unnerving than The Walking Dead’s gratuitous use of shock-value gore and violence (although I do also love that show), it really just plays double-dutch with how it comforts and yet at the same time alarms you through Yuki’s expertly portrayed delusions and growth, and especially in watching the growth in both the characters and the show openings—it’ll have you on the edge of your seat the whole damn time AND give you a couple best girls to choose from. What better way to spend your Halloween?

2. Highschool of the Dead

Originally posted by zicosontheblock

Now on the opposite side of the zombie spectrum. Highschool of the Dead is a very straightforward zombie invasion story with overly-straightforward ecchi, harem themes to it—understandably so, it was written by a hentai artist after all—about a group of high schoolers trying to survive the zombie apocalypse. It’s the straight up horror of The Walking Dead and 28 Days Later. Now I’m not saying this show is underrated because it’s not well known—it’s on every horror anime list and the manga, although on hiatus, is still a top seller. I’m calling it underrated because I don’t think that people give it nearly enough credit. Yes, the fanservice is ridiculous at times as is the way all the girls are constantly falling for Takumi, but the characters are all really dynamic and interesting, including the main audience-insert character Takumi, who actually, isn’t a totally pathetic, Gary-Stu audience insert. He’s funny, strong, courageous, and handsome with some real emotional baggage, and it’s actually pretty easy to see WHY girls fall for him. Similarly, the girls all have personalities, even if they do fall along the lines of harem tropes, these are pretty strong, independent and interesting women. And don’t even get me started on Kohta. I love that chubby little gun otaku so much I can’t even fucking stand it. Overall, I just think it’s a really solid story with one of the greatest English dubs I’ve ever seen that I think people are way too quick to drop because of its fanservice and if you stopped watching after the third panty shot in the first 10 minutes, go back and power through because you’re really missing out on a great dumb, fun series.

And at number one is…

1. Blood Lad

Originally posted by michi-i

GREAT fucking show and I am shocked that not as many people are as crazy about it as I am. Blood Lad tells the story of Staz Charlie Blood a powerful vampire in the Demon World who is obsessed with humans, anime, and Japanese culture. One day, a human girl, Fuyumi Yanagi, stumbles into the Demon World, which he’s thrilled about! …until she’s eaten alive by a carnivorous plant and turned into a ghost and he then takes on the responsibility of bringing her back to life. Huge Halloween-esque fun as they go about battling werewolfs, Staz’s vampire relatives, and even Frankenstein-themed monsters—seriously, I’m shocked this isn’t on at least one Halloween list I’ve watched. Maybe that’s because even with all these horror themes and references, it’s a really fun show. It’s an action and supernatural black comedy with cute and funny romantic tensions and love triangles, ridiculously fun and likeable characters, and just a fantastically entertaining occult story. I adore this anime and while it won’t have you screaming, it’ll get you pumped for a fun Halloween in the same way the American film Hocus Pocus would. It’s ironic, satirical, and just absolutely wonderful, and is a must watch, for Halloween or otherwise.

So yeah, those are my recommendations! Let me know what animes all of YOU recommend for Halloween or otherwise and I’d be happy to post them. And remember, to celebrate this blog’s first anniversary, I’m accepting fanworks for sports and shounen anime that YOU all produce so send those in if you’ve got them! Thanks for all the support and keep on sinning!

–Admin Ryou

The other day I read The Iron Trial and I loved it. I, like many others before me, probably assumed Callum would be the Makar, after all, that’s who the main character is expected to be, the hero. The one who saves them all. But him being The Enemy changes it all, the whole dynamic. In a good way though. Instead of him trying to be honourable and good and saving the whole Magisterium, he has to try and not be bad, try and not destroy the Magisterium and his friend. Instead of already being good, he is bad. Not evil, but when his memories come back, he’ll remember what it’s all for, what he had done. When (if) that happens, he’ll have two conflicting sets of memories, two different side of feelings. Callum has a choice, to be good or to be bad? Have you ever considered making Callum bad? Or remember who he was and continue fighting for it? — Releasethefandom

Holly: So, one of the things we decided to do on Magisterium Day is talk a little bit about the BIG TWIST of The Iron Trial. I’ve been calling these our “magician antihero” books for a while, but only in secret.

I think your question gets at the BIG question of these books: is Call evil?

And yes, we’ve definitely thought about making Callum bad! That’s one of the possible endings to the series — he and Aaron, facing off against one another, Call, sitting on a throne of skulls.

You bring up a really interesting question in terms of memories — is it possible to access Constantine Madden’s memories and if it is, would Call want to? If he did, would he still be Callum?


Yeah, this really is the big question of the books. It came out of a discussion Holly and I were having about character “markers” - we are accustomed to signals within a story that hint at the role that the character plays. For instance being the protagonist is a good sign you’re the hero! Having secrets in your past, also a good sign. Having what appear to be unusual powers, also a sign.

But a lot of those signs can be flipped around and applied to a villain. Call has all those hero markers, but also all the markers of a bad guy. And so yeah, Call could definitely turn out to be a villain. The potential is there in his soul. Master Joseph knows that. I think that’s part of what makes his relationship with Aaron interesting. He’s destined to, specifically, be Aaron’s enemy. Can friendship erase that? When Aaron knows the truth about Call, will they even still be friends?

Sarah (having stolen my computer):

I for one embrace our future evil overlord.

AARON: At last I have found you, my destined enemy. In your dark lair of evil, in your throne of skulls, stroking a white cat which contrasts with your surroundings and also the fact you are… dressed from head to toe in tight-fitting black leather…

CALL: Yeah, it all kind of came with the lair.


TAMARA: Oh blame it all on your past self, Call, that is so like you. Constantine Madden wanted to enslave mankind for their own good, Constantine Madden’s soul burns for vengeance, Constantine Madden always leaves the toilet seat up…


CALL: I mean, it’s not all Constantine Madden’s stuff. It’s modern. It’s the latest thing. Master Joseph has been keeping it up-to-date. He turns out to be mad for the Evil Home Shopping Network.

AARON: … I’m going to need a time-out.

CALL: Sure, I understand. You look a little flushed. You need to reschedule? I mean, I’m evil, but I’m not, like, inconsiderate.

TAMARA: Take all the time you need. We all cared about him, his fall from grace is hard for us all—

HAVOC: Woof! (Translation: I’m from a broken home!)

AARON: Why, why, why? I can’t deal.

TAMARA: I get it. What evil dwells in the human soul? Can none of us escape our destiny? This is big stuff. Totally.

AARON: Why, why, why, how did it happen, how has it come to this? So black.

TAMARA: His soul and also our fate.

AARON: But also the leather.


AARON: Don’t look at me that way! This is the eternal question that has plagued mankind, Tamara! Why, why, why must evil be SO SEXY?

CALL: … Do you mind if I take this call? It’s for a calendar: ‘Evil Uncovered! Not In the Justice Way.’ That jerk Loki’s trying to upstage all of us by doing his with a horse. I’m getting a piercing. I won’t say where because you’re good people and this is children’s literature.


somebodylost-chan  asked:

Seasons greetings to you! Q: how do pull off the Reveal of the Hidden Villain? The heroine didn't know she was the Big Bad 'til Part 3, nor was she visible or near the heroine. They do have a personal connection, but my trouble is showing that. D:

I don’t usually nitpick the way a question’s phrased, but in this case, “The heroine didn’t know she was the Big Bad,” is an ambiguous way to phrase it. This could mean either that your protagonist didn’t know who the villain was, or that she didn’t realize that she was in fact the antagonist all along. Of the options, the latter is more of a head trip, so I’ll hit that too on the way out.

When it comes to structuring a story, where the villain is ambiguous, identifying them will be a persistent thread through the story up to that point. It may be the entire focus. A very loose structure these kinds of stories work with is that your protagonists spend their first act working to identify their foe, the second act learning about them and formulating plans to go after them, and the final act putting their plans into motion, and scrambling to pull out a victory.

I say, “very loose,” because you can step back and really mess with the structure. Such as having your characters know who they’re going after from the beginning but working to prove it, or learning a lot about who their foe is without actually putting a name or face to them (which is what you’re describing).

If you want to look at this in an overly mechanical way; your characters are going to be spending the story trying to collect information. That’s the currency that drives their story. They need pieces of it to put together who is responsible. Missing even a few pieces along the way can critically undermine their ability to accurately anticipate who they’re working against. This has a knock-on effect of further distorting their expectations and perceptions of what’s to come. One mistaken assumption or missed clue can lead to erroneous assumptions that form the basis for theories that are further removed from the truth.

Most good mysteries operate off a very careful formula: The author drops the evidence about what really happened in front of the protagonists and the readers, mixed into a larger collection of red herrings, and relevant information that the characters do seize upon initially.

Bad mysteries will usually withhold the information necessary to contextualize the rest, and then pull it out in an effort to keep the audience off balance. Often with the intent of making the protagonist seem preternaturally intelligent. Really, all the author did was lie to the audience, and then stick their pet in the spotlight.

In case it’s unclear: Please, do not do this. Having your audience get ahead of your biggest reveal is not the end of the world. Sure, some will be smug about it, but realizing the author was, in fact, playing fair with their puzzles can make the material infinitely more interesting on a return trip.

Also, it’s basically impossible to hide anything from your audience. If you have a character who’s secretly the villain, a savvy reader will realize it due to Ebert’s Law of Conservation of Characters (assuming you’re writing with that in mind). The easiest way around this is to make sure that your secret villain is actually pulling double duty, and not just there to be the antagonist, but we’ll come back to that in a second.

Roger Ebert’s Law on Conservation of Characters holds that every character in a film (or any media, really) needs to serve a purpose, so by eliminating each character who serves a necessary narrative function, you can immediately identify the killer/traitor/secret santa/whoever you’re trying to hide from the audience.

The thing about this is, it is really good advice. Good writing is, usually, concise, clear, and easy to understand. You’re communicating with people, and presenting as little unnecessary information as possible is a strength. (The red herrings in mysteries are an exception to this, but you should still strive to deliver them as quickly and concisely as you can.) It’s worth remembering, some of the texture for your material is necessary for selling the scene. But, you need to be asking yourself, “do I really need this line?”

The same is true of characters. If a character doesn’t need to be in your story, they probably shouldn’t be there. This is more pronounced with films, where each character indicates that they were important enough to include in the story and pay an actor to stand there and deliver the lines. It’s one of the reasons why you’ll often see minor characters excised from adaptations, while their only critical dialog is migrated to one of the more important characters. With this in mind, Ebert would run through the cast and simply look for someone who wasn’t doing anything useful. Thing is, this does work in writing as well.

This is what I meant about the antagonist pulling double duty. It’s not enough to show that they’re the villain, if you really want to hide it from the audience, they also need to be the mentor, love interest, perky sidekick, CGI “comic relief” atrocity, or the protagonist.

Once you know what their role in the story is, and the fact that they’re also secretly the villain, you have a lot of room to work with, and you can set up some fantastic subtext tension for your villain, that is only obvious on a second reading.

For example: if your protagonist is being mentored by the villain, and the villain genuinely cares about the protagonist’s growth as an individual. They have an immediate conflict of interest. They may honestly want the protagonist to grow, learn, and have a better ability to understand what they’re looking at, while still advancing their own agenda that the protagonist opposes.

When you’re working with something like this, it’s important to remember that people can want two separate things, and due to the actions of others, those goals can come into conflict with each other. It doesn’t mean that you immediately pick a side, but it will put some hard decisions in front of you. Or, your characters in this case.

If you’re still wondering how to tie your characters together, it’s the connections like this that you’re probably looking for. At a very simple level, “how do you show a connection between two character?” You put those characters in a room and have them interact. You let them show their relationship with each other. Whether that’s romantic, platonic, mentor/pupil, patron/client, or just shared history. But, you show that.

The other option is, of course, that your heroine is also the villainess. There’s a lot of ways you can run with this idea, that range from cheesy to profound. The cheesy end includes things like a character who swaps between two separate persona. Without something to justify it, this specific approach tends to undermine the whole, “I didn’t know I was the villain all along,” thing. There are ways to pull it off, where someone ends up investigating their own under the table operations, without realizing it, because they’ve insulated themselves from that level of their criminal enterprise. For instance, you could have a corrupt cop, who knows they’re a corrupt cop, but doesn’t realize that the drug dealers they’re investigating actually work for their proxies. A situation like that wouldn’t, usually, last long, because one of their minions would ask them what they’re doing.

Another classic option is the doppelganger. This may simply be a copy of the character from somewhere else, a supernatural simulacra, an alternate version from the future, whatever. There are uses for stuff like this, but it’s tricky to work with. I’d scratch it off the list entirely if things like mirror universes didn’t also allow you to play around with a radically different interpretation of your characters. In traditional folklore the doppelganger was a sign of one’s impending death (though not at the hands of the doppelganger itself). Make of that what you will.

Finally, you can have a protagonist who is, in fact, the villain, as a result of their actions. Heroes and villains exist on a very fine line. The actions of the hero are sanctioned based on the context of those actions. When you start to strip that context, or reveal it as a lie, it becomes very possible to present someone as the hero only to realize, at the end, that they really were a villain all along.

There’s two ways to approach this. The first is that your character comes to their villainy over the course of the story. By abandoning their principles in pursuit of victory. The cliché is, “the road to hell is paved with good intentions,” though I much prefer Buckminster Fuller’s, “Those who play with the devil’s toys will be brought by degrees to wield his sword.” However you want to abstract this, the arc is that your character grows from a hero into the new villain. It’s one hell of a third act revelation, when they can step back and in a moment of introspection, realize they’d become what they fought against.

The other approach is that your character was always the villain. This may be that your noble freedom fighter was, in fact, a ruthless terrorist, who distorted the facts to soothe their own conscience. They may have viewed their actions as justified, when they actually violently overreacted at every turn. Their casual cruelty may have been the very thing that fed the movement they were working against, justifying the group they perceived as the villains.

To quote Michael Douglas’ Bill Foster in Falling Down (1993), “I’m the bad guy?” “How’d that happen?”


This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron.

I'm calling it. Rey is going to turn to the dark side. (for reals)

I was not exactly on board with this scenario when it first came to rise in the fandom, in fact I thought it was kind of a cheap shot. The more I think about it though, the more I see that there may be more than a possibility of this actually happening.

FYI, this theory post will not address who Rey actually is but focus purely on why I think she will turn to the dark side. Also, I am in the camp that she will obviously return to the light side. I do not want to speculate how long she will be on the dark side, only why she might initially turn. Also, some of this is perhaps unpopular opinions so you have been warned.

First of all, the music. Yes yes I know, why start here, but it is actually quite important.

There are many similarities between Rey’s theme and Anakin’s theme from episode 1. I know people don’t want to go there (ugh prequels) but the fact remains that both are composed by the same guy, John Williams. One thing he is really good at is foreshadowing and in Anakin’s theme he does this in spades. If you listen to both themes side by side, you start to notice that both are innocent in harmony and melody. Quite light and slightly romantic (musical term not the emotion). But as the pieces come to a close, they both slow down the theme and take on a darker, slower, quieter and yet almost sadder form. As if alluding towards what is to come. 

Originally posted by snowhiteraven

As a music uni student I have listened to the soundtrack of TFA countless times but always found the way Rey’s theme ended to be confusing. With Anakin’s theme there is no confusion, we already know where the young Skywalker is heading, but with Rey we don’t. However listening to both themes gives me the same feeling - the feeling of foreboding, of something darker coming along to extinguish the innocence of these central characters. By assuming that Rey’s path is heading towards a darker path, her theme instantly makes more sense - it is also interesting to note that it starts in major but ends in minor, just like Anakin’s.

The second thing I would like to address is Rey’s character. What I find extraordinary is that if we peel away the surface, Rey is actually a much more likely candidate to be a villain than Ben Solo/Kylo Ren.

Originally posted by nwordbelike

Now you must be thinking, WHAT?! but just bare with me. Aside from circumstances, looking purely at their characters, Rey is in fact far more dangerous and darker than Kylo Ren.

At the beginning of the film we see that she is always alone. She has no contact with other people and therefore nobody cares for her (at least that is how it seems). It is also interesting to note that all three main characters start off wearing masks (Finn, Rey and Kylo Ren). When BB8 insists on staying with her we see that she struggles to show kindness and generosity - she’s actually rather cynical, a bit like Han Solo, who, before becoming a hero, originally starts off pretty much as an anti-hero. When Finn asks if she’s ok when they are being attacked on Jakku, she is confused, wondering why he is asking the question.

It is almost as if she does not recognise human kindness or generosity. What she is familiar with is loneliness, pain, and struggle. This is what she has in common with Kylo Ren, which is why the interrogation scene is so nuanced.

In contrast, Kylo Ren is the opposite. He is naive, knows very little about real life struggle since he was born into a well off family and obviously he abandoned his own family by choice, as opposed to Rey, who’s own family abandoned her (at least for now it appears that way). He is also sentimental, and surprisingly vulnerable. It is in fact Rey who is the more cynical one, not Ren. He is more emotional than her, feels more than her. If he was cynical like Rey, he would not care whether his parents were alive or not, it would not matter as far as his path to the dark side. He would also not struggle so much between the light and dark.

Rey on the other hand suffers no internal conflict. Twice she defeats Kylo Ren and in both cases, the director does not depict them as victories, like when the Death Star gets blown up. The music (again yes music haha) ends in the lower registers and seems to suggest the dark side. And it is played with the scenes ending on Rey’s face as the focus, NOT Kylo Ren. It is also key to realise that as the audience, we are unaware of which side of the force Rey and Kylo are using during their battle (at least in the film they keep it nebulous). The use of the force is not as clear cut as it is when we see Vader and Yoda using the force in their respective scenes.

After all, if Rey really was a light side user, wouldn’t the title be ‘the light awakens’ or ‘the jedi awaken’?

The LEGO game gave another huge reveal and was very explicit. Kylo Ren states clearly that he feels the dark side in Rey. One can argue that every sith Jedi Padawan etc has both sides of the force within them but it is interesting to note that since Rey defeated Kylo Ren so easily, this suggests that she potentially has more of the dark side in her than Kylo Ren.

Originally posted by gwendy85

It may even be that they will eventually switch sides, with Kylo Ren turning to the light.

In many ways, Rey turning to the dark side would make sense. She struggles with remaining in the light while Kylo struggles with remaining in the dark. Who knows, they may even be revealed to be grey jedi.

She has suffered more than Kylo so she would have a much easier time tapping into the dark side than he currently does I think.

On the other hand, she holds hope (something she shares with Luke Skywalker - both dreaming of a better future) and this is key. She will return to the light eventually, of that I am sure.

But we all know that the middle episode (or 2nd movement of a symphony, as Kershner put it) is always where the struggle happens, where conflict occurs. In other words, where everything goes to shit.

And if the protagonist and villain switched places then…. well….. yeah, I think that’s a big enough ‘i am your father’ moment for me personally.

Originally posted by mr-eatme

If we take the rumor going around about the force tree and origin story of the force (about the light side girl and dark side boy) I can totally see a convo between Luke and Ben Solo going like this.


“Ben Solo…… at last……….. you have finally returned.”

“Rey… she’s…..”

“Yes, I’m afraid I misinterpreted.”


“You see, I believed you to be the boy in the story. The one from the dark side, who betrayed the ones he loved. However, I was wrong. You were never the boy in the story. How could you be, with so much light struggling to get out inside of you. No…. but her…”

“I don’t understand. I chose to fall to the dark side, I still-”

“Didn’t you listen properly when I told you the story all those years ago? Those children didn’t chose anything. They felt a pull, the natural pull of the force, forever separating them, putting them on different paths. You chose, yes. You chose to ignore the call to the light, for the sake of legacy, because you felt that your grandfather was proof of your true calling. Rey needed none of that. I felt it the first time I saw her, just as you probably did. The prescence of the dark side within her. You may have chosen to fall to the dark side, but Rey never chose. She was called to. She was called to the dark, just as you have always been called to the light, despite the conflict within you.”

TURN, Hewlett, and Why He (& Characters Like Him) Matters

It’s no secret that I love Edmund Hewlett. That’s basically the opposite of a secret, as is the fact that I’ll be pretty crushed if season 4 reveals that, yepp, he really did sail back to Britain and will not return.

But the thing is: my dread is not just about him, per se. I’ve weathered the loss of a favorite character many times before. Who hasn’t? In Hewlett’s case, however, I think the show itself stands to suffer without him — or at least, without the narrative role that he plays so well.

This post is kind of rambling and naturally a bit verbose, but take it, I suppose, as a justification of my sorrow at the possibility of a sans-Hewlett season 4 by way of an exploration of his thematic role in TURN’s narrative and a defense of that role’s importance to the heart of the show. Because for as much love as Hewlett gets, he’s got plenty of detractors as well: critics and fans alike who don’t see the point of the Anna/Hewlett plotline or understand Hewlett’s purpose beyond “local obstructive bureaucrat.” To which criticism I humbly submit the argument that Hewlett & his plotlines absolutely have a point, thank you very much, and that he has in fact proven to be among easily the most moving and successful articulations of a theme TURN has continually tried to reinforce:

That neither the audience nor the characters can side wholeheartedly with only one side of the war, because there have always been sympathetic and admirable characters on both sides, muddying the moral waters and forcing the characters to grapple with loyalty to ideals vs. loyalty to people.

In other words: although TURN ultimately portrays the patriots as the protagonists, it’s also increasingly made a point of forcing its patriots to confront the fact that they do not have any kind of exclusive claim to decency, morality, or sympathy. Quite the opposite, in fact.

And Hewlett is not the only permutation on this theme, but he’s a pretty dang significant one.

Keep reading

Top 5 Final Fantasy Antagonists

It’s not like I have 3 fics to finish 2 of them with deadlines, nor like I am facing a mayhem of time chaos, or that I have the basic human need to sleep, nope. Let’s just find something else to spend time on. So here we are.

Because this will feature spoilers related to FFXV under a cut at the end, I have to do this now. Tags! Please, I tag everyone that wants to do this, and all I ask is that you mention me in the post @hannibalcatharsis-zero because I want to read people’s opinions, thoughts, biases, whatever, on your top favorite FF antagonists. You don’t have to make it as lengthy as I did, but I do talk a lot.
If I may, I’d like to directly tag @lvl99fangirl @adrastia @fujoshilyfe @datamarluxia @haeng-syo-peace@dancing-aqua@allowthisfam​ if you want to, simply because I’ve exchanged some words with you before.

Enough endless intro, on to the huge post.

Runner ups:

- Rufus Shinra (Compilation FFVII)

A rare case in FF, he’s neither an experiment, hybrid of some sort, madman or blessed/cursed with some awesome powers. 

This guy is entirely and purely human and therefore is all the more cold heartedness, lust for power, intellect and cunning. Seeing him the first time in Advent Children was one thing, but going back and seeing the stuff he did in FFVII? Even before that? Man, Papa Shinra wasn’t a nice man at all, but apples don’t fall far from the tree and the prodigal son sure as hell did some bad stuff and planned worse. And tried to kill dad more often than his other two brothers did just to rule in his stead even more ruthlessly than the old man. 

Good thing it just took a damn WEAPON firing, explosion and near death experience, Meteor falling and Geostigma to make him consider atoning.

I actually want to see him on the FFVII remake more than anything else really. Full HD Rufus on the prime of his full power-mad and evil persona? Damn.

- Kadaj, Yazoo & Loz (Compilation FFVII) - specially Kadaj

Originally posted by petite-princee

Originally posted by shinysnivy

I love Sephiroth’s Remnants, particularly Kadaj. They’re all so childish (including Yazoo!), which I find rather interesting when you know they’re parts of Sephiroth. Shoutaro Morikubo’s voice acting was beautiful and really built Kadaj’s threatening and deadly persona, while having the feeling of mean but lost child you kinda want to hug. Or would want to, if he wouldn’t likely kidnap your children, torture and kill you.

- Snow Villiers (Lightning Returns Final Fantasy XIII)

Yes, I know he’s not a real antagonist (not for long anyway), but look at him. He needs to be mentioned just because look at him.  

Holy shit.

–My top 5 favorite antagonists–

(not in order of preference!)

- Sephiroth (Compilation FFVII)

Originally posted by xsephiroth

Sephiroth is the name even non-FF fans know of. You have to give to a character when they create such a huge impact overall.

He is visually striking. When he did get voice acting, his voice is memorable (the Japanese one more, but the English isn’t bad either). His theme is memorable. He commited one of the most unexpected and memorable main-character murders in games specially as of 1997, and for that reason remained engarved in gaming history. He overall has all the immediate aspects to make him memorable.

The fallen hero that became a villain instead when he loses his mind after finding about (and missinterpretating) his origins as a genetical experiment. Personally, seeing his downfall in Crisis Core made me all the more fascinated with him. I grew to like him a lot more after seeing that, the change that happened to him. How awesome was Sephiroth, seriously? He was kind. Funny even. Man, Hojo is one of the most truly evil characters in the wholeout FF franchise.

The only one with shitty father (the worst) who DIDN’T kill him! Man, seriously, Rufus tried, Genesis did, so did Seymour. Seriously Sephiroth, why didn’t you kill Hojo.

Crisis Core is excellent overall. One of the saddest games.

I honestly don’t know how to exactly pinpoint what makes me like Sephiroth so much.

But the music helped too.
EVERYONE that knew me in 2006-2010 knew this song. I made sure of it.

- Genesis Rhapsodos (Crisis Core/Compilation FFVII)

Originally posted by caerberus

Genesis doesn’t really get a lot of love, and I can’t really blame long-time fans in particular. But personally, I find it a shame.
It does help, I think, that I don’t take Crisis Core in its English version. The whole FFVII universe exists in my head in its Japanese format, I’m sorry to the voice actors of the Eng sub. Gackt’s voice is Genesis’s (well, that’s the point really. He is a lot more irritating in English.

I love everything about this guy. I love the melancholia he lived in, the search for purpose/understanding through parallels, the obssession and obssessive persona he created, the search for friends of equal worth, the utter self hatred, the madness he fell into.
Genesis is tragic.

And the just little (little) stabs and just friendly twists of the knife on Sephiroth’s psyche “We’re all monsters, I’m a monster, but you’re the worst of all. You’re the defination of monster, you know? But hey, I want you to be my friend, help me out :) “

I find it a huge tragedy that he outlives so many people when he didn’t plan to.

- Seymour Guado (FFX)

Originally posted by datamarluxia

My love for this guy exceeds my argumentation ability.

The nihilist even before I knew what nihilism was. I for one never minded his English voice, which in later years I found that people had a quirk against. One of the things I appreciated was to see him fall to madness and how it reflected in his voice turning fiend-ish. I like that he’s the counterpart/parallel of Yuna and how she turned her goal into preserving life and overcoming pain while he decided to end life to end pain.
With the life he lived, you can hardly NOT understand why he sees the world like that. Ostracized for being half-Human half-Guado when obviously he had no fault on that; his father who DID have a part on that shipped him away with his mother arguably for their protection; his mother commiting second-hand suicide to help him gain public appeal against him literally crying for her not to (I wonder why he would prefer his mother alive, huh? I still love those memories in Zanarkand Ruins so much); finally being accepted because he fucking exceeds at magic and has the most powerful Dark Aeon one can have only to see the utter corruption of the world and the religious-political regime that ends up confirming and preaching what he knows from experience - life is about suffering and will ever be.

And he’s the definition of ‘doesn’t die’ (Sephiroth too). I mean, you KILL him at 30% of the game, and he literally returns more than to haunt you :) that’s 4 fucking fights, and overall most people can agree that Seymour Flux was one of the hardest storyline boss fights in the franchise. Many tears were shed under countless hours of attempts only to be crushed each time under Total Annhilation attack.

Besides, not many antagonists include in their plans literally marrying the protagonist (and beforementioned parallel)and having one of the most beautiful wedding purposals 

Originally posted by caerberus

Originally posted by caerberus

Originally posted by captestheimxv

and one of the most awesome weddings ever in gaming history,  in my opinion.

Originally posted by caerberus

Originally posted by iures

Originally posted by caerberus

Originally posted by ethernalium

Originally posted by aegisol

- Caius Ballad (FFXIII-2/Lightning Retuns)

Originally posted by cleyra

Caius saved Final Fantasy XIII trilogy for me.

The whole point of making a post on antagonists/villains is because these characters are a structural part of any story - any FF in particular. FFXIII severily lacked and failed overall to me because of this. Then came this guy and as soon as he appears in the intro, you cannot take your eyes off him.

Originally posted by finalaeon

Originally posted by liberatorofsouls

Originally posted by thingsinlifeyoujustdo

Originally posted by noellkreiss

Caius has got to be one of the most selfless antagonists in the franchise. He’s mean, yeah, but you get his point from the get go. He’s willing to end everything and everyone if it means he can save a girl that has been suffering endlessly (in his view at least - that was one beautiful twist in the story/interpretation, Noel’s words about Yeul’s reincarnation).

And you know what, another rare thing in FF antagonists: he’s successful. He got what he wanted, most of it anyway, including his death. There were some setbacks and unexpected stuff for him in LR indeed (he didn’t plan the Chaos of Yeuls binding him in the paradox, but well) but he got pretty much his biggest three wishes - kill Etro/kill himself, unleash Chaos and Valhalla to destroy time and save Yeul.
Not everything ended up exactly like he envisioned, but the result was basically the same. And he was happy.

Also. The voice. The fcking VOICE. Liam O’Brian, man.

The pain in his words!

And the music!

- Ardyn Izunia (FFXV)

Originally posted by datamarluxia

Well this part isn’t spoilers yet so:
The voice. The. fcking. voice. The range of emotions Darin de Paul and Fujiwara Keiji have in their performances is amazing. Ardyn is so unique, so regal, over the top if he wants and so often funny. So captivating. 
His whole image/pose is striking, the way he stands and moves. Will anyone deny that that entrace in the fucking BEAUTIFUL MAGESTIC throne room in Kingsglaive didn’t immediately steal all and any attention to himself despite his surroundings and King Regis standing in the throne? He owns a scene the moment he appears.

Originally posted by verryfinny

I also found his more human image (meaning his realism really - you don’t get an antagonist in FF looking this real when it comes to mid/late 30s) quite appealing when compared to others. He’s beautiful obviously, like all others, and still clearly FF-ian, but he’s less ‘facially perfect’ compared to several others before him.

-spoilers- henceforth obviously

Keep reading

Mondo is my absolute fav and I think for the most part, one of the best pulled off characters and i’ve never talked about him in general so im going to. Also him and Ishimaru.

Keep reading

theriftwebcomic  asked:

Hey! A friend and I have been planning a fantasy webcomic and we want to publish on Tumblr (and some other sites), and I figure you guys probably know a lot about what makes the best webcomics, so I was just wondering if you guys had any advice for some beginners about what you think makes a good webcomic? Thanks for your time!

Woo boy…

There are a lot of folks who can tell you a thing or three about making webcomics, and some of them have even managed to start comics of their own! I am not actually one of those people, but here is a general overview of what I think works and what doesn’t.

0) Just do it!

Plan and script and design all you want, but there will come a point where you just need to publish the dang thing already! It’s one thing to spend time developing your concepts so you know just what kind of story to make, that’s a really good thing to do and in fact shows your dedication to the project. But people (myself included) can get so caught up in the small details that we never actually draw a single page.

And I get it, I really do. The comic is your baby and you want to make sure it’s absolutely perfect, but all you’re doing is sitting on the idea and preventing it from hatching. So get it out there! Sure you may screw up, but at least you got to learn what came out of it!

1) Knowing what kind of comic it is.
You said that you and your friend want to make a fantasy webcomic, but what else is it about beyond that? Is it a serious adventure? Comedy? Is the focus more on the characters or plot? And are both of you on the same page with what you want out of it?

I don’t necessarily expect you two to know all of this right away; even the best writers and artists might need some time to get a feel for their world before it really takes shape. But if you go into it with a strong initial concept, your early comics will be all the better.

2) Consistency.
A regular update schedule is one of the most important things when making a comic. It tells your audience “hey, this is when new pages for you to read will appear, and I will keep to this schedule to the best of my ability.” Sometimes delays can happen, but it’s harder to keep a dedicated audience when they don’t know when the next story instalment will be. There are, of course, exceptions: comics like Order of the Stick and Manly Guys Doing Manly Things update irregularly due to health issues and animation jobs respectively, but in general it is better to have set days for comic updates to take place.

In that regard, a good way to avoid missed /delayed updates is to A) have a “buffer” of pages that you make in advance, and B) know how long it takes to make a single page and factor that into your life schedule. It’s the professional thing to do.

3) Do we care about the story?
What is the scope of this story? What’s at stake? Do we get to see the effects this has on the world/protagonists? Are the themes of the story interesting? ARE there themes? A lot of this I can’t answer for you, and regarding themes/general message it may be something you learn as you go, or even changes partway through. But you need to show the audience why whatever is happening is important.

4) Do we care about the world?
Since you mentioned that this is a fantasy story, I’m assuming magic and non-human sentient races are involved. So what makes this place stand out from every other fantasy world? How does magic work, if it can be harnessed by mortals at all? What are the people and their cultures like? There are so many rad things that can be done with a completely fantastic setting, but you still need some kinds of rules and grounding in order to help your audience relate to it and buy into that suspension of disbelief. Something as simple as a pantheon or saying “magical abilities come from X source” can help a lot for that.

5) Failing either of those, do we care about the characters?
By caring, I don’t necessarily mean the character has to be likeable. There are a whole bunch of characters out there who we love to hate, from Loki to Ganondorf to Dr. House, and they are nevertheless extremely popular. Why? Because they are rounded and believable (or just plain entertaining) enough for us to be invested in what they do. We care about what happens to them, even if we wouldn’t want to meet them in real life.

Character development can play a large part in this. So does character consistence, and if development takes place slowly and naturally enough then those two factors do not have to be mutually exclusive. It also doesn’t mean that a hero can never lose or never succeed. We just have to be there rooting for them the whole way. Look at Penny from last week’s “Johnny Wander” review: Even when everything in her life turns to shit, we’re invested in what happens because her earnest and determined attitude cause us to root for her, and the fact that there are still some bright spots in her life means that her struggles are encouraging rather than out-and-out depressing. In short, we care about her.

6) Show, don’t tell.
I remember one superhero comic I read on DeviantArt for a short while before getting tired of it and moving away. The concept was interesting, the art was good, and there was a cool compilation of characters and powers, so what was the problem? Well… there was way, way, WAY too much exposition going on. Characters were spending pages explaining themselves, their motivations, their powers, before a single real fight took place. And when we did get to see actual villains throw down with the cast, not only did they speak paragraphs in the span of a single punch, but their entire scheme was plotted out beforehand, which robbed the whole scene of any tension or impact. Acceptable back in the golden and silver ages of comics… not so much now.

Show, Don’t Tell is a simple rule, but a lot of people toss it around without really knowing what it means. It’s about presenting information through your story in a way that is both entertaining and engaging, and doesn’t pull your reader out of the narrative. Trust the intelligence of your readers, and their ability to piece information together without you force feeding it to them. It saves you work, and keeps the reader invested.

7) Don’t strive for perfection.
This is a pitfall I’ve seen people fall into a few times; you’ve been making a comic for a couple months or so, getting into the groove, but one day you look back at your old work and GASP! You hate every last panel of it! No way do you want everyone looking at these horrid old pieces, so clearly the best thing to do is to stop the story and redo everything from page 1, right?


This is something everyone in a creative field has to deal with: absolutely hating their old work. You are allowed to hate it and realize that you could do so much better now, that’s what old art is for. But imagine you’re driving a busload of kids to the fireworks factory only to slam on the breaks a quarter of the way there and yell “WAIT THIS BUS IS HORRIBLE I NEED TO GO BACK AND WE’RE ALL GETTING INTO A SHINY AWESOME NEW ONE!” Yeah the new bus is shiny and great, and maybe some of the kids are impressed, but more likely they’re pissed that the trip to the fireworks factory has been pushed back. And it’s very likely that you’ll get to about the same point before stopping and repeating the whole process over again.

There are some times when redoing pages is justified (such as collecting them for a published volume, or you did one storyline as part of a school project and had to gut so much out in order to be “school-appropriate” that it was better to retcon and redo the chapter completely (and yes this did actually happen to a friend of mine)), but for the most part you just need to keep moving and growing. The audience will move with you, I promise.

You may have noticed that a lot of this advice is… well, really generic. Honestly the toughest part of any creative work is getting started, and there are so many different types and genres of comics that I can’t be more precise unless I know more about your work. If you’d like to speak with me in private, send me another message and we can talk more. In the meantime, here are some other resources that are more in-depth regarding what you should and shouldn’t do when it comes to webcomics:

learnfromwebcomics gives advice in the form of “lessons,” using examples from preexisting comics to show common pitfalls of writing and how to avoid them. It hasn’t updated for a while, but the advice that IS there is very good indeed.

Julie Miyamoto has some tips and tricks here, mainly regarding “know what you’re getting into” and “be dedicated,” but there are some other great pointers as well.

Paul Martinez’s article here is more on the technical side of things, but if you want a framework to start from then this should work fine. Remember that webcomics allow you to be a lot more creative in terms of layout and design, but you may need to reel that back if you ever want to collect it in print later!

How Not To Run A Comic completed a few years ago, but it provides many humorous examples of… well, what not to do, from having an announcement page and nothing else to filler overuse to horrible ways of killing off characters.

Things you probably didn’t know about ENFJs.

1. We’re secretly rebels.

Although ENFJs are dominant judgers, we’re not interested in blindly following the rules. The best way to get us not to do something is to reply “Because I said so” when we ask, “Why should I?”. And we will ask why. We don’t like to do things without a good reason. Whom will this benefit? (Fe) How does this fit into my goals? (Ni) If we don’t see how the rules support either of these criteria, we will not follow them, simple as that.

2. We’re cute and cuddly until we’re not.

ENFJs get cast as the cinnamon rolls of the MBTI community, but it’s not always accurate. We can be vicious. ENFJ might be The Protagonist, but we also make formidable adversaries. Some of the most compelling villains, both real and fictional, have been ENFJs. Think Hitler, Regina Mills from Once Upon a Time, Alison DiLaurentis from Pretty Little Liars. If we get fed up with a situation, we can make your life an utter nightmare, either by just being generally unbearable or pushing the one button we know will set you off. Our kindness is only as good as the calibration on our Fe compass.

3. We care more than anyone else…until we don’t.

People don’t realize how quickly we can stop caring. Yes, we’ll be your biggest cheerleader and most loyal supporter, but if you betray us, or hurt us (or, more likely, someone close to us), prepare to get frozen out. INFJs doorslam. ENFJs freeze out. We can go from being your best friend to a complete stranger in the matter of hours. And once we stop caring, it’s very hard for us to go back.

4. We’re leaders, but we don’t always want to be.

Thanks to our Fe and Ni, ENFJs make excellent leaders. We know both how to recruit people to our cause and envision the best course of action to take. However, we’re not interested in bossing people around. Leading can often be exhausting for us, as it involves managing a lot of details at once while ensuring that work is getting done. Our natural drive and ideas tend to push us out into the spotlight though, whether we like it or not.

5. We can be a lot more blunt than people expect.

When people think Fe, they tend to think of people who say only what will make people happy and avoid telling painful truths. This is not the case. ENFJs can be painfully blunt, especially if we see that you’re hurting yourself or others. Our Ni allows us to discern the truth, and our Fe will want to protect whoever is at risk. If the benefits of being blunt outweigh any emotional trauma that it will inflict, we will be blunt. The end justifies the means.

6.  Only talking about feelings can exhaust us.

People tend to assume that because we are dominant feelers, we only care about emotions. That is far from the truth. In fact, having to deal with others’ emotions constantly can be draining, especially if they’re negative or painful. We’ll do it because we want to help, but don’t be surprised if we need time to recover afterward. We also love to talk about ideas, especially ones related to society. Help us develop our Ti by discussing intellectual matters with us. Our overworked Fe will thank you.

7. We need more alone time than most extroverts.

Dominant Fe means we are constantly in touch with other people to the point of losing ourselves and our individuality. Socializing can get addictive for us, so sometimes we don’t notice this until we start to feel a general sense of unease and feeling unbalanced or off-center. It’s very important for ENFJs to have alone time in order to cultivate our Ni and learn to develop an identity outside other people.

8. We’re good at figuring out where we can cut corners and find loopholes.

While ENFJs generally try to be conscientious, if we are pressed for time or simply don’t care (yes, it happens; we’re human and simply don’t have the capacity to care about every single thing), we know exactly where we can skimp. We’re good at picking out what matters in a project and what doesn’t, so we’ll skimp on the less important parts and try harder on the parts that actually matter. Likewise, we can set aside our ideals and give you exactly what you want in order to get our desired outcome.

9. We spend a considerable amount of time trying to be good because we know how easy it is for us to go bad.

ENFJs have a bad reputation for being manipulative, and it’s not undeserved. Unhealthy ENFJs use their highly developed Fe and Ni to read people and figure out exactly how to get what they want out of them. Even healthy ENFJs find themselves unwittingly swaying people to their views. We also tend to be aware of the things we’re realistically capable of doing. Add that to our tendency to fall to dark thoughts when we’re alone for too long, and you have the recipe for a lifelong struggle to uphold our ideals instead of just taking the easy way out. We often overcompensate by being extra good in an effort to prevent such a decline.

10. You might not know when one is around.

ENFJs are human chameleons. We have the ability to observe others and absorb aspects of their personality into ourselves. We tend to mirror who we’re around, so we can come off as their type. But even when alone, we can mistype quite easily. A lot of ENFJs mistype as ESFJ or INFJ, due to imprecise test questions. If their tertiary Se is particularly well developed, ENFJs can even mistype as ESFP. Cognitive orientation doesn’t always translate into action. I’m cognitively extroverted, but don’t always engage my environment, leading others (and online tests) to think I’m an introvert. MBTI can only truly measure cognitive styles, not behavior. 

On Villains: Some Thoughts

Personally, I love villains. Whether that villain is physically represented as a person, the crushing weight of external circumstances crushing down the hero, or their own internal antagonist pushing them around by their flaws and fears, a good villain is one piece that a story can’t do without.

What is the role of an antagonist?

The role of an antagonist is to create conflict within the story. This is their primary role. If they are not an acting catalyst for conflict in the narrative, then you’ve got a problem. (Your hero should also be creating conflict.)

Make Them Better Than Your Hero:

What is your hero’s goal in life? What is it they want most in the world? Who do they want to be? What do they want to be good at?

Give those traits to your villain.

When your villain is everything that your hero thinks that they want in life you can create great conflict by having them reevaluate those goals. You worry the reader because we know that the villain is a better X, be that a better leader, a better strategist, a better fighter, or a better politician. It gets even better if they fit into and are good at the things the hero is not good at. Your hero may be the greatest swordsman in the world, but he sucks at world play and politics. This may seem like an advantage at first, except that the villain can control all the inner workings of the city and control public opinion. Where the hero is a battering ram, the villain is a spider plucking at their web. The hero must find a way to get to them, but they have to do that without landing their ass in jail.

A great representation of this strategy (when it’s handled right) is Lex Luthor versus Superman. Lex Luthor is the corrupted version of all the ideals Superman has sworn to uphold. Superman can’t just go battering down Luthor’s door and deal out justice, he has to prove that Lex is in the wrong. But, Lex is protected by government officials and public opinion, every time Superman tries to catch him, Lex slips away. The same is also true for Lex, he sees in Superman all the power that he dreams of having. He wants to be the Lex Luthor version of Superman and it gnaws away at him.

Take Them to the Extreme Edge:

Hero: “I want to be free.”

Villain: “I want to be free and the only way I can be is if I enslave everyone else.”

See the difference?

Some antagonists live in extremes and they take it to the furthest edge. A noble goal on it’s own is just a noble goal and it may even be the same goal that the protagonist has. In fact, if your hero is someone who hates the status quo and wants to be free but is forced by the villain to defend it through the virtue of their own ideals then you have some great internal conflict. In the end, your hero and your villain want the same thing but the ways that they go about getting it is what makes all the difference.

Through the Mirror Darkly:

Some of the best villains and hero match ups are drawn from the same place with the added bonus fear that if the author flipped them around that they would each become the other. I always hold up Darth Vader versus Luke Skywalker in the Original Star Wars Trilogy as one of the premiere examples of this theme.  Vader represents Luke’s possible future, he is what Luke could become and what Luke fears he will become. Vader acts as a looming threat in the narrative, not just to the success of the heroes physical, real world goals but also their spiritual ones. As we learn more about Vader, we know that the monster was a man once and that leaves the possibility open that any Force wielder (in this case Luke) could become him. More than that, once we know the truth, we know that Luke will continue to put himself into danger to save Vader and that brings him into orbit of the villain that acted as the catalyst to make Vader what he is. As the narrative evolves between the three movies, what Vader’s role changes in what he represents thematically. However, without him, the narrative would completely fall apart.


Ladynoir July Day 2: Movie Date

A heads up for new readers. All of my Ladynoir July stories are one story, so I suggest reading them in order for everything to make sense. Here’s a link to day one.

“Would you go to a movie with me?”

Ladybug stared as the question hung in the air. Cat Noir looked at her expectantly, about 90% sure she would shoot him down with a smile that would somehow still dazzle him, but hoping she might surprise him.

She did always seem to know how to surprise him.

Ladybug’s lips curled into a smile, “And just how would that work, kitty? We’d show up to the theater in our suits?”

“Uhhh…” He paused, scratching the back of his neck, “Honestly? I was still working on that. I thought you’d say no.”

She chuckled, “Well, joke’s on you. There’s actually a movie coming out I’m dying to see and no one else will watch with me.”

He brightened, “Really?”

She nodded, “But, how can we go and still keep our identities secret?” Cat Noir was thrilled to see she was actually thinking about it, trying to find a way to make his impulsive suggestion work.

So, he decided to press his luck, “Do our identities have to remain secret?”

Keep reading


Reylo: part of the Masked Anti-Hero/Villain Romance Trope.

This is a trope I have been studying for a very long time that most people usually don’t see or think of. Most of you are probably thinking ‘What is she talking about?’ Well, I’m going to explain. The masked anti-hero/villain romance trope (I know, a mouthful) has been around for ages right under everyone’s noses. Some examples of this are: V for Vendetta, The Phantom of the Opera, Silence of the Lambs/Hannibal, Labyrinth, and The Mask. (The last two are a stretch for the trope but bare with me) The masked man who has committed murder and/or other heinous acts, against his better judgment, falls in love with a girl he meets completely coincidentally. She usually represents light, innocence, and everything he is not. A foil in a sense. There is a mutual attraction between the two, and depending on if the masked man is a villain or an anti-hero, decides whether he ends up with the girl or not. If this still doesn’t sound like Kylo Ren and Rey let me start explaining some parallels in their cinematography as well as give some visual parallels.

Silence of the Lambs/Hannibal:

Here, we see some perfect symmetry of Reylo as the story has been told so far. At this point, Kylo is essentially Hannibal Lector, vigorously pursuing his goals while constantly being setback by his female protagonist. Both end up spiriting away said female protagonist from danger by use of a bridal carry, (Clarice from the killer boars and Rey from the rest of the First Order) and trapping them in a compromising position when they need a crucial bit of information. (Hannibal wanting the key to the handcuffs Clarice put on them, and Kylo wanting the map to Luke Skywalker) Both antagonists go above and beyond in their respective films to demonstrate that while they may have no problem killing other people, they are overly careful and cautious around their protagonist of interest, willing to fight and rough them up a bit, but never seriously injure them.

The Phantom of the Opera:

Now, in the image above we see both male antagonists staring at their female protagonist, refusing to actually touch them, instead ghosting there hand just overtop. Though the circumstances are quite different, the reasoning behind their actions may not be so black and white. In Phantom, he does this because he is afraid of defiling her pureness with his hideousness. Another probable possibility is because he is still trying to remain as detached from her as possible. They have a working, albeit strange, student/teacher relationship. While the Phantom wants more, he knows the chances of him expressing that sentiment, and her returning it at this point, is slim at best. Both scenarios could be applied to Kylo as well. Kylo is trying to remain as detached from Rey as possible after just removing one of his greatest shields in front of her. (I’ll come back to that later) He wants to remain in control of the situation; he is in charge and she is the one who is trapped. He hides his insecurities and awful deeds behind that mask, which is probably also why he never takes it off. It is a way to disassociate Kylo Ren with Ben Solo. With the call to the light so strong already, the last thing Kylo wants is more temptation.

V for Vendetta:

In this next comparison we cannot see V’s face, but we can imagine that he is doing exactly what Evey is doing. After V just disposed of Evey’s attackers she is staring in shock and awe at this man standing in front of her. She is also a little confused, because she has never seen or met a person like V before. In both pictures this is the first time V and Evey are actually seeing each other, in the sense that they have had time to take each other in. Switching over to Star Wars, the same can be said for Kylo Ren and Rey. Yes, they have both seen each other, but never under these circumstances. Both are exposed, emotionally and physically shattered, and it is become that moment where everything is clicking into place. They share that same look found on Evey’s face in V for Vendetta. Kylo is in awe of Rey’s strength and power, a slight twinge of confusion to see her up and calling the lightsaber away from him. Rey in turn, looks to Kylo in confusion and shock, sensing within herself the same incredible power he wields.


While David Bowie’s Goblin King, Jareth, only wears a mask once in his movie it does qualify him for this trope. It also sets him apart from the first two comparisons. Instead of a villain, Jareth is the anti-hero, playing the villain on Sarah’s behalf. V was also an anti-hero, who we assume would have stayed with Evey had he survived in the end. Here we see Jareth acting as the anti-hero in the same two ways we saw V act towards Evey; the first is that he refuses to harm Sarah directly, the second is that before and after he loses the upper hand he makes Sarah an offer he did not have to make, but made out of a desperate desire/plea. (Sound familiar?) At the end of their movies both antagonists give offers that can be construed to mean more than just what was spoken.

Jareth’s offers:
I brought you a gift. A crystal, nothing more. But, if you turn it this way and look into it, it will show you your dreams. […] Do you want it?

I ask for so little. Just let me rule you, and you can have everything that you want. Just fear me, love me; do as I say and I will be your slave.

Kylo’s offer:
You need a teacher! I can show you the ways of the force!

It is already stated in the Labyrinth that Jareth was in love with Sarah, explaining this otherwise useless plea. In Star Wars however, there would be no point in Kylo offering to teach her when he could literally just shove her off the cliff. Some may argue that he was following Snoke’s orders to bring Rey to him, but then there would be no point of him calling HIMSELF her teacher, or referring to their training in the force without expressing light or dark. Much like the Labyrinth the movie is ended with the good guys winning and the bad guys losing. We know with Star Wars though that there is going to be two more before our tale is done.

The Mask:

My final example (and proverbial nail in the coffin) is Jim Carry’s, The Mask. Carry’s anti-hero may have little to no connection to Kylo Ren, but he does have one plot point that solidifies my belief that there is not only a romance brewing between Kylo Ren (Ben) and Rey, but that Kylo Ren will have a redemption arc in the end. The difference between this movie and all of the other previous examples is that in the end, he gets the girl. I repeat, HE GETS THE GIRL. The romance isn’t just left out in the open, it is confirmed in the end that she fell in love with him throughout the whole ordeal. Not the mask, but him. Again, why does this matter in terms of Star Wars? In the movie, Jim Carrey’s character puts on, but also takes OFF, the mask for her. Carrey knows the mask is dangerous, having no control and turning into an entirely different person once it’s on; but to stop the villain from wielding that same power against the woman he loves, he puts it on. This is touching, but not nearly as touching as when he realizes that he loves this woman and she loves him in return, acting without the mask, breaking free of its power and taking it off. This is shown in Kylo and Rey’s first meeting. He takes off his shield, his source of power, FOR HER. He doesn’t need it around her.

For the most part this is all just theory and speculation of why I believe in Reylo and think Kylo Ren will get a redemption arc. However, the trope itself is real. These parallels exist and are even shot similarly. I’m willing to bet there was a purpose and plan behind that, and I would love to hear what anyone who stuck around long enough to read this thinks. Please leave a comment or two!