incidental

Degrees of secondhand fandom:

  • I don’t watch/read/listen to it, but I follow the summaries on the wiki
  • I rarely pursue information about it, but I have enough incidental contact with the core fandom that I’ve picked it up via osmosis
  • I strive to avoid it, but I’ve been indoctrinated against my will by the fucking memes
  • I can cite the canon chapter and verse, but I have no recollection of how or why I acquired this knowledge, and that concerns me

mcknighty9  asked:

I don't think the film addresses toxic masculinity...

My buddy my dude I don’t wanna start Discourse™ on gotg of all thing but Ego’s whole entire character is a metaphor for a very particular brand of toxic maleness that was romanticized in action movies in the 80s and has bled heavily into ideas of male heroes today. The whole film was abt how thats Literally Evil. It tricks u into thinking it’s charming and suave and attractive but it is actually very very harmful, it treats women like crap, and it is entitled and arrogant and cruel.

Yondu on the other hand was a different brand of toxic masculinity, one that was not charming or suave but had to maintain this facade of toughness and aggression lest he be seen as “soft”. That element of Yondu and the Ravagers’ culture obviously hurt Peter a lot as a kid growing up, but in a far more obvious way than Ego did (in having killed his mother – who is incidentally the person who has influenced all the Good in peters heart – unbeknownst to everyone).

Peters arc is in outright REJECTING everything Ego stands for and doing everything that that classic Male Heroes Trope would balk at; relying on and drawing from the love he has for his friends, respecting and recognizing the importance of the agency and power of the women in his life whom he cares about, and ultimately seeing traditionally femenine-coded qualities like compassion, vulnerability, kindess and love as powerful.

Yondu’s arc allows Yondu to break free of that cycle of toxicity and in one final act of heroism impart that Understanding – that his Heart is his strength – onto Peter (along with literally physically saving his life. Metaphors, much?)

So uh. Yeah, my guy. That’s just my two cents. I feel like a lot of that is very clearly there in the film? But??? Could just be me???

KakaSaku Month! August 2017! It’s about love and imagination, folks.

Week Three (August 15-21) Prompts, brought to you by this art by @meliss-cake:

  • Stuck in an enclosed space
  • “This is all your fault.” “I hope so.”
  • Epistolary format (letters)
  • Soulmate AU
  • Holding hands

Use the tag #kakasakumonth!

All prompts visible here.

(Incidentally, Soulmate AU was the #1 most requested prompt. People sure do love those soulmate AUs.)

Status Report 6/22/17

Hi there! This is CoreyWW, newest member of the Connie Swap team with something a little bit different that we’re hoping to make a regular thing.

We want to have a greater level of engagement with you wonderful people, so we’re going to be periodically posting status reports (maybe once a week, if possible, but we’ll see how things turn out) to let you all know ideas we have in the works as well as ideas of how you all can have fun along with us. So, let’s get right into it.

Latest chapter progress – Episode 8 Chapter 2 is on schedule, which we’re all very excited about. I think I speak for the whole team when I say we’ve been having a lot of fun with this one. In case you haven’t read the first chapter of episode 8 yet, you should consider doing so here, especially for those of you who like Sadie or the Cool Kids. (Incidentally the Cool Kids ended up being fun to write, but that’s neither here nor there…)

Omake Prompts! – This is a recent idea that we’re all excited about. The Team loves the omakes (i.e. non-canon chapters) you guys have been making. The bulk of these are collected in our Omake Collection on AO3 (which incidentally, if you have an idea for one, leave us a comment on the collection or send us an ask here and we’ll be in touch). Of course the team has made some omakes too, but we love the ones from you all.

Soooo, we’ve been in talks to do a fun event where we will, perhaps once a week, leave a prompt for you guys to write a story from using the characters in this AU, and see what you guys come up with. The results will be reblogged here and might even be added to the collection. We are still workshopping this idea, the main reason we’re mentioning it here is to tell if that’s something you guys might be interested in. So if you like this idea, let us know.

Should we do this, we are debating if the prompts should be specific story seeds (Ex. The prompt for this week is “Connie and Steven go on a date”) or much shorter prompts that can be interpreted any number of ways (Ex. The prompt for this week is “Dating”.) If you have an opinion one way or the other, let us know as well.

Upcoming omake from the team – br42 is currently at work on a fun little non-canon omake featuring Connie getting sick and Steven helping take care of her, so look forward to that soon :)

Connie Swap Style Guide reference – To help authors interested in doing omakes, br42 is also working on a concise “style guide” as a reference, basically a list of the writing conventions and quirks surrounding each character

That’s all we have at this time. If you have any questions or thoughts based on what’s covered here, feel free to send an Ask! I hope you’ve enjoyed this update. Be sure to keep your eyes peeled here for all further Connie Swap updates, as well as keep an eye on our AO3 page for all new chapters. Thanks for reading!

-ConnieSwap Crew✩

anonymous asked:

Would you imagine that there'd be a lot of resentment by Elizabeth toward her husband? It can't be denied that he limited her role as consort to a mere figurehead and kept her financially dependent on him (I take it as a wise move on Henry's part for that way she'd be short of cash to fund the rebels against him). He allowed his mother to virtually usurp her rightful consort powers. They muzzled her for it's a fact that people preferred her side of the family.

I’ve given my opinions on the financial situation here [x], [x], and [x]. I’ve also addressed the power issue here [x] and more incidentally, here [x].  I’ve also talked about the influence issue here [x].

If she did resent her husband for any reason there’s not much evidence out there of it, not that I would expect there to be any floating around.  Elizabeth seems to have been very dignified and proper.  Your implication that a consort is a mere figurehead is correct, in medieval England the consort had very little real function and Elizabeth fulfilled what few duties were expected of her to perfection.  Margaret didn’t usurp Elizabeth’s consort powers (as there wasn’t a hell of a lot to usurp), if anything she was usurping a share of Henry’s kingly powers.  But you don’t see Henry complaining about it.

Anyway…

Originally posted by neonsinmyblood

3

Tradução das informações sobre o próximo episódio de Boruto
13話[魔獣, 現る]
ミツキからゴ一スト事件の犯人の名を聞いて、大きな衝撃を受けるボルト!これ以上の被害拡大を防ぐため、ナルトはミツキと一緒に真犯人のもとへと駆け出す!そして里には巨大な魔獣·鵺が出現!!事件との関わりは?
Episódio 13 [ A besta demoníaca aparece]
Boruto tem um grande choque, ao ouvir de mitsuki, o nome do culpado pelos eventos. Afim de evitar mais danos, Naruto corre até o verdadeiro culpado, com Mitsuki. E a gigante besta demoníaca Nue aparece na vila!! Qual é a relação dele com os incidentes?

サイの報告で事件の首謀者の正体を知り、驚くナルトたち。彼らが事件解決のためにとる行動は!?
O relatório de Sai informa o nome do verdadeiro culpado, Naruto fica surpreso. Quais as ações que eles tomarão para resolver o caso!?

協力を買って出る!
里の危機を聞きつけ、引退した六代目火影·カカシがナルトたちの前に登場! その知識と経験で、ゴ一スト事件捜査の協力をちう申し出る。
Cooperação voluntária!
Ao ouvir sobre a crise na vila, o aposentado sexto Hokage Kakashi, aparece antes de Naruto! Com seu conhecimento e experiência, ele se oferece para ajudar na investigação do incidente.
Créditos da tradução: lidiuzumaki.tumblr.com

sarahwolverine  asked:

I just want to say that I love your blog very much! (Plus, the few pictures I showed my latin teacher were beloved by her as well!) I'm so glad I found you again after my Cicero obsession became a thing, especially because this one instant I love new wine in old wineskins. Mixing up fascination for historical persons/culture with new media and culture is one of my favourite things. PS: I've started learning Italian and wanna say yall have a beautiful language <3

Thank you for the kind message, it’s always uplifting to know my work is appreciated! And thanks, I love my language very much! Incidentally, I just started studying German (which, judging by your description, is your language, ja?) and I’m also liking it very much so far.

Caros alunos, devido ao incidente acontecido dias atrás e que não nos estender sobre, segue a lista de alunos que deverão comparecer à reitoria para prestar esclarecimentos acerca de sua rotina durante a noite do fatídico incidente em que o instituto Wonsan está envolvido. Abaixo, os nomes dos estudantes (por ordem alfabética) que terão três dias úteis para comparecer junto ao corpo administrativo. A presença é imperativa, as ausências serão severamente remediadas. 

                                                      Bang Zero 

                                                      Jung Damon 

                                                      Ishihara Kou

                                                      Kim Allen

                                                      Kim taehyung

                                                      Yoon Jeonghan


…………………………………..

Os alunos cujos nomes estão supracitados deverão fazer uma self-para em modalidade de carta, explicando minunciosamente seu paradeiro no dia do assassinato de Bae Minki (quinta feira, 15 de Julho).

4

NEW CHARACTERS!

Folks, we’re SUPER excited to unveil our first update for exclusive pilot content!  We wanted to start it off with some of our background (incidental) characters!  Just a few of the residents you will find taking up space in the Gulch.  You’ll see em hanging in the saloon, hiding under a tree, or hobbling from shoppe to shoppe.  Our idea was to do our take on various myths but also create new ones.  Part 1, more to come!  Enjoy and thank you for your ongoing support! 

theguardian.com
Ten things I learned about writing from Stephen King
The novelist James Smythe, who has been analysing the work of Stephen King for the Guardian since 2012, on the lessons he has drawn from the master of horror fiction
By James Smythe

Stephen King is an All-Time Great, arguably one of the most popular novelists the world has ever seen. And there’s a good chance that he’s inspired more people to start writing than any other living writer. So, as the Guardian and King’s UK publisher Hodder launch a short story competition – to be judged by the master himself – here are the ten most important lessons to learn from his work.

1. Write whatever the hell you like

King might be best known – or, rather, best regarded – as a writer of horror novels, but really, his back catalogue is crammed with every genre you can think of. There are thrillers (Misery, Gerald’s Game), literary novels (Bag Of Bones, Different Seasons), crime procedurals (Mr Mercedes), apocalypse narratives (The Stand), fantasy (Eyes Of The Dragon, The Dark Tower series) … He’s even written what I think of as being one of the greatest Young Adult novels of all time: The Long Walk. Perhaps the only genre or audience he hasn’t really touched so far is comedy, but most of his work features moments that show his deft touch with humour. It’s clear that King does what he wants, when he wants, and his constant readers – the term he calls his, well, constant readers – will follow him wherever he goes.

2. The scariest thing isn’t necessarily what’s underneath the bed

Horror is a curious thing. What scares one person won’t necessarily scare another. And while there might be moments in his horror novels that tread towards the more conventional ideas of what some find terrifying, for the most part, the truly scary aspects are those that deal with humanity itself. Ghosts drive people to madness, telekinetic girls destroy whole towns with their powers, clowns … well, clowns are just bloody terrifying full stop. But the true crux of King’s ability to scare is finding the thing that his readers are actually worried about, and bringing that to the fore. If you’re writing horror, don’t just think about what goes bump in the night; think about what that bump might drive people to do afterwards.

3. Don’t be scared of transparency

One of my favourite things about King’s short story collections are the little notes about each tale that he puts into the text. The history of them, the context for the idea, how the writing process actually worked. They’re not only invaluable material for aspiring writers – because exactly how many drafts does it take to reach a decent story? King knows! – but they’re also brilliant nuggets of insight into King himself. Some people might think that it’s better off knowing nothing about authors when they read their work, but for King, his heart is on his sleeve. In his latest collection, The Bazaar of Broken Dreams, King gets more in-depth than ever, talking about what inspired the stories in such an honest way that it couldn’t have come from another writer’s pen. Which brings us to …

4. Write what you know. Sort of. Sometimes

Write what you know is the most common writing tip you’ll find anywhere. It’s nonsense, really, because if we all did that we’d end up with terribly boring novels about writers staring out of windows waiting for inspiration to hit. (If you like those, incidentally, head straight for the literary fiction section of your nearest bookshop.) But King understands that experience is something which can be channelled into your work, and should be at every opportunity. Aspects of his life – addiction, teaching, his near-fatal car accident, rock and roll, ageing – have cropped up in his work over and over, in ways that aren’t always obvious, but often help to drive the story. That’s something every writer can use, because it’s through these truths that real emotions can be writ large on the page.

5. Aim big. Or small

King’s written some mammoth books, and they’re often about mammoth things. The Stand takes readers into an apocalypse, with every stage of it laid out on the page until the final fantastical showdown. It deals with a horror that hits a group of characters twice in their lives, showing us how years and years of experience can change people. And The Dark Tower is a seven (or eight, or more, if you count the short stories set in its world) part series that takes in so many different genres of writing it’s dizzying. When he needs to, King aims really big, and sometimes that’s what you have to do to tell a story. At the other end of the spectrum, some of King’s most enduring stories – Rita Hayworth & Shawshank Redemption, The Mist – have come from his shorter works. He traps small groups of characters in single locations and lets the story play out how it will. The length of the story you’re telling should dictate the size of the book. Doesn’t matter if it’s forty thousand words or two hundred, King doesn’t waste a word.

6. Write all the time. And write a lot

King’s published – wait for it – 55 novels, 11 collections of stories, 5 non-fiction works, 7 novellas and 9 assorted other pieces (including illustrated works and comic books). That’s over a period of 41 years. That’s an average of two books a year. Which is, I must admit, a pretty giddying amount. That’s years of reading (or rereading, if you’re as foolishly in awe of him as I am). But he’s barely stopped for breath. This year has seen three books published by him, which makes me feel a little ashamed. Still, at my current rate of writing, I might catch up with him sometime next century. And while not every book has found the same critical and commercial success, they’ve all got their fans.

7. Voice is just as important as content

King’s a writer who understands that a story needs to begin before it’s actually told. It begins in the voice of the novel: is it first person, or third? Is it past or present tense? Is it told through multiple narrators, or just the one? He’s a master at understanding exactly why each story is told the way it’s told. Sure, he might dress it up as something simple – the story finding the voice it needs, or vice versa – but through his books you can see that he’s tried pretty much everything, and can see why each voice worked with the story he was telling.

8. And Form is just as important as voice

King isn’t really thought of as an experimental novelist, which is grossly unfair. Some of King’s more daring novels have taken on really interesting forms. Be it The Green Mile’s fragmented, serialised narrative; or the dual publication of The Regulators and Desperation – novels which featured the same characters in very different situations, with unsettling parallels between the stories that unfolded for them; or even Carrie’s mixed-media narrative, with sections of the story told as interview or newspaper extract. All of these novels have played with the way they’re presented on the page to find the perfect medium for telling those stories. Really, the lesson here from King is to not be afraid to play.

9. You don’t have to be yourself

Some of King’s greatest works in the early years of his career weren’t published by King himself. They were in the name of Richard Bachman, his slightly grislier pseudonym. The Long Walk, Thinner, The Running Man – these are books that dealt with a nastier side of things than King did in his properly attributed work. Because, maybe it’s good to have a voice that allows us to let the real darkness out, with no judgments. (And then maybe, as King eventually did in The Dark Half, it’s good to kill that voice on the page … )

10. Read On Writing. Now

This is the most important tip in the list. In 2000, King published On Writing, a book that sits in the halfway space between autobiography and writing manual. It’s full of details about his process, about how he wrote his books, channelled his demons and overcame his challenges. It’s one of the few books about writing that are actually worth their salt, mainly because it understands that it’s about a personal experience, and readers might find that useful. There’s no universal truths when it comes to writing. One person’s process would be a nightmare for somebody else. Some people spend years labouring on nearly perfect first drafts; some people get a first draft written in six weeks, and then spend the next year destroying it and rebuilding it. On Writing tells you how King does it, to help you to find your own. Even if you’re not a fan of his books, it’s invaluable to the in-development writer. Heck, it’s invaluable to all writers.