interesting present

Using flashbacks to your benefit.

Suspenseful flashbacks, anyone? 

As a general rule, I dislike flashbacks, because many of them stall the plot instead of moving it forward and are just plain boring. But that doesn’t have to be the case. 

Tips to help you create more interesting flashbacks…

1. Leave the reader intrigued. Flashbacks work in your favor when you use them to create suspense. Instead of flat out explaining something happening in the present, make the present more interesting by giving hints about things that are currently effecting the main story, while leaving some things to be revealed later. 

2. Don’t just backtrack to backtrack. Anything worthy of a flashback should develop into something bigger and more interesting during the course of the main story. If you can remove the flashback from the story, and the story itself still makes sense and is just as suspenseful, your flashback shouldn’t be in the story to begin with.

3. Emotions are your best friend. If the flashback doesn’t create an emotional response in the reader, then you’re just using a lot of extra words to describe something that could have been better revealed through an intimate conversation between two emotionally vulnerable characters. 

4. Keep it short. The reader should be intrigued by the flashbacks, but they should still be thirsty to return to the present time. Don’t linger for so long that they become detached from what’s going on in the actual story.

5. Think outside the box. Characters experiencing their past through dreams or memories is a typical way to introduce flashbacks, but there are many other, more versatile methods. Break up the flashback into single pages or a few lines at the begin of chapters or book parts? Tell the memory from a side character’s POV? Compare it with the memories of an ancient historical figure who experienced the same thing? Consider the effect a variety of unique methods might have on the reader’s interpretation of the flashback before committing to the more common ways.

Please keep in mind that this is my singular opinion on what makes me personally enjoy a flashback. My opinion is not the opinion of every reader or writer in the known universe; for that matter it might only be the minority opinion. 

The most important rule is to flashback the way you enjoy flashbacking, if you feel the need to flashback in the first place. Don’t let my opinion persuade you otherwise.

i-rant-for-pleasure  asked:

Do you mind if I ask what's this anime you're talking about? Because so far from you you've blogged about I'm digging the lack of fanservice and moe face!

Hmm…. it depends on what you perceive as “the moe face” because that term is so nebulous and up to personal interpretation, unfortunately. I tend to define it as “characters looking much younger than their actual age, with typical anime style of drawing” not characters that are just as young as they’re drawn thus the designs are simply “cute” not “moe”. :v


In this case, I’m pretty sure you could enjoy:

LITTLE WITCH ACADEMIA

It’s a very lighthearted show about a school for witches, that’s sure to give u a Harry Potter childhood nostalgia ;D. It actually feels exactly like a cross between this and Ghibli movies = cute, super cool action and absolutely no fanservice. Also female protagonists because that’s …. an all-girls school. The animation is so beautiful u want to eat it and the show is very funny but can be pretty emotional at times as well!

Addition: If you love Mabel Pines - you’ll love Akko - the main character, as well!! 


MOB PSYCHO 100

There’s also Mob Psycho 100 which… hmm I personally wouldn’t say qualifies as “cute” at all, unless some specific scene calls for it (mostly as a joke lmao). 

Extremely good animation - seconded! It’s not only insanely fluid but also uses SUCH UNIQUE TECHNIQUES, Yes you’re gonna see full sequences made via paint on glass or charcoal, pencil etc. This is… kinda an action show but it’s ABOUT action, it’s central theme is kindness. However unlike in other shows with the same theme it doesn’t feel forced. It’s so natural and all characters are so real and you’ll end up loving them all! This show’s not only super hilarious but it brought me to tears more than once… I’ve never seen anything so accurately showcasing character’s emotions through just the visuals.

So yea it basically has it all: almost no romance, amazing plot, animation and characters, humor!

Additional bonus if you’re a Gravity Falls fan: it has a conman character with a hidden heart of gold that actually cares about the main character that’s a middle school kid = so if u love Stan, you will love him! :D


SHIROBAKO

Well, I’ve already talked about why this show is great [HERE]!


PARANOIA AGENT

Then there’s a show that’s pretty heavy and entirely psychological, meant for the mature audience. - and yes there’s no fanservice here either. If u dig diving into twisted mysteries that make you question what’s real and what’s a figment of the character’s tortured psyche’s - Paranoia Agent is the show for you.

^^^ extremely creepy in context/paired up with the soundtrack = the intro is characters laughing in dangerous/deadly situations… the song is sickeningly joyous… you see nuclear bomb exploding, flood, war… and they laugh

It deals with so many kinds of mental illness or very serious horrible situations life puts us in, that make us feel trapped, absolutely lost. It can get VERY visually abstract and this gets more prominent as the show goes on so I won’t post any screencaps of this to not to spoil too much. 

The best thing is that despite dealing with very dark matters… the show does allow the viewer to draw some positive lessons from it. So you won’t just feel crushed after all that heavy stuff going on, more like… enlightened, emotional and utterly fascinated. I think it’s most helpful for someone with suicidal thoughts.


I’m yet to see enough anime to make a comprehensive list of those “safe to watch”. I realize there are way more out there but I’ve decided to only talk about those I’ve seen personally. 

But in general other movies made by Satoshi Kon (who made Paranoia Agent) are just like that show so go watch them too! Just as all of the Studio Ghibli movies are very fun, beautifully made, devoid of “moe face” and esp fanservice since this company is kinda like the Japanese Disney = keeps stuff kid friendly (but still some of the movies really do deal with heavy real-life matters like war or destruction of the environment! so it still stays very intellectually satisfying). 


Other shows to consider

Terror in Resonance: The designs are one foot in the moe and one in a more grounded style so it’s for you to decide if this sits right with you. There’s not really any fanservice except one scene where a female characters simply takes a bath, it’s not sexualized… but u can see the boobs so… yeaa be vary of that. But overall it’s a fast-paced mystery-driven show about serious matters such as terrorism, childhood trauma, how WWII affected the Japanese society and so on… Plus it has really really unique and great soundtrack! It ranges from fast-paced jazz to stuff resembling Sigur Ros… (and I love this character on the right so much > . <)


Hyouka

This is, a very chill show about a group of friends hanging out and solving small mysteries in their school and outside of it. The mysteries aren’t that important but still they got this kind-of Sherlockian vibe? (later on those books are referenced just as Christie’s). The mysteries are fun but most of all it’s about watching these high schoolers grow as people. I mean that’s not the most ambitious premise but trust me, this is incredibly pleasant to watch, it always made me feel so relaxed, at ease. It’d say it’s quite beautiful! And yeah the design is meant to be cute and typical “anime style” but, uh, characters look their age (I suppose) so in my opinion that’s not moe.

One could argue they got just one “fanservice episode” but I personally disagree - I mean if just simply showing characters going to a swimming pool and one wearing bikini… and the guy who has a crush on her getting subtly flustered at her getting close is fanservice??? then probably all of the healthy romance is. Idk to me it wasn’t over the top but very natual and tasteful. Plus this show isn’t romance focused - rather is centred strongly around friendship and opening to others.


Madoka Magica??? 

I’ve started this show recently, I’m 6 episodes in and so far there’s been no fanservice and I wouldn’t say the style is the typical “moe”(… but it kinda is… it’s complicated: character design is moe but how they are handled isn’t), esp if u take a look at how original the environment where the battles take place looks! 

Beware though - it can get pretty bloody and the show spirals into darkness further and further as it proceeds… straying continuously from the usual cutesy “magical girl anime” tone (=it’s not afraid to brutally kill off its characters)

our gender identities do not exist on a binary and neither do our personalities. it’s okay if your personality, interests, and presentation don’t seem to 100% ‘go together’. people are complicated, we’re allowed to like and be many things. you don’t have to sacrifice or deny one aspect of yourself because it seems to be the opposite of another. let yourself be complicated and accept your own individuality. even though some parts of you may not seem to fit with others, they still manage to form something amazing–you.

yeah tolkien probably didn’t anticipate how bad he messed up by leaving the seduction of mairon so vague…….like if he’d just explained……..did melkor have good campaign ads? did he show mairon a 300 slide powerpoint presentation on why Evil is the Way of the Future? I’m sorry mr tolkein but bc you never specified im free to assume that mairon had a big embarrassing eternal crush on melkor and they held hands a lot and also probably the powerpoint happened at some point. you can’t stop me.

“But but he was married in a few spin off comics tho!” Yeah and they were always cringy ooc messes.

Idk how to tell u this but, straight ppl have hated non-straight folks for centuries, Jenny. Writers forcing Jughead into het relationships to throw off suspicion sometimes happened. But it’s not the 1900s anymore. LGBT peeps saying “hey it’s the 21st century, maybe let non-straight folk not be straight in peace” shouldnt be too much to ask.

Does a Story Need a Plot?

One of the things we talk about most when we talk about writing is plot. That makes a lot of sense. Plot is the driving force behind a novel, affecting everything from narrative structure to characterization. 

And yet, there are a great many stories out there that don’t have a discernible plot. There’s no big prize waiting at the end of the film for the protagonist(s). There’s no big revelation coming that’s going to shake things up and turn their world upside down. 

Films like Lost in Translation are perfect examples of why, in some cases, plot may not be necessary. Stories like these are studies of the human mind. They show how people live their day-to-day lives. They show how people build and break relationships. In their most surreal form, they showcase the worlds of dream and imagination that live inside all of us. 

Suffice it to say, not every story needs a plot. (Or a plot may not really be the “important” part of the story, serving as little more than background fodder for the more important stuff - but we’ll get to this later.)

Writing a story without a real plot is easy. Writing a good story that lacks conventional plot… much, much harder. Here are some things to think about.

What do you do when your character doesn’t have a goal?

Usually, characters have clear reasons for being the protagonists of their stories. If they don’t want anything, it’s hard to move them from Point A to Point B. Even harder is making the reader give a damn about these characters and their lives. 

But I already said that a good plotless story is often about exploring people’s minds - so in this case, having a character without a goal gives you a good chance to explore that. 

Most people cringe when they think of stories where things just “happen” to the protagonist(s). But it’s not always a bad thing (IF interesting things are happening and interesting situations are presenting themselves).

How does your character make decisions? What do these decisions say about your character? Do they make perpetual bad decisions? 

What’s the message? What are you exploring?

Okay - so not every story has to have a deep, philosophical meaning. But having an idea that you’re exploring gives you a chance to put characters in situations and see how they react to these situations. In the Lost in Translation example we see two characters come together in their loneliness, and we explore the concept of being alone. 

Perhaps you just want to explore a concept such as being a teenager in the digital age. Or you want to explore anger, and so introduce characters dealing with very different kinds of anger in very different ways. 

Maybe you want to explore the idea of love without clearly writing a “love story” with a traditional plot. In this case imagine a story where a couple is together at the beginning and together at the end - sounds kind of boring right? That is, until you look at how other aspects of life affect aspects of their relationship.

What if you have a “pointless” plot?

Sometimes you may include a plot in a plotless story. That’s not a paradox. In this case, the plot is there, but it’s just… not important. It’s little more than background noise for whatever else is going on.

For example, maybe you have a young Hollywood actress auditioning for a role in a film. She gets the role, and the story follows her as she films the movie. But that’s just background noise. What’s more important is looking at her interacting with a diverse group of people, from her struggling actor friends to her successful new actor colleagues, and how they’re really all dealing with the same problems.

The plot is just there to get her where she needs to go - to put her in a situation where she closely interacts with such a diverse group of people. 

How do you end a plotless story?

And now, the big question. How does a plotless story end? If there’s no big goal your character is working toward - no plot to get a nice, tidy resolution - then what’s the point, right?

The point is that you, the author, are going to look back at how you can sort of summarize the message you wanted to set out exploring. 

In Lost in Translation these two lonely characters who have made an impact on each other go their separate ways. Neither is really changed as a person in a significant way, but seeing them part drives the message of loneliness home.

In our story about anger, maybe we have something happen out of the blue that ties thematically into the piece. The person who has been claiming they’re going to kill Character X when they see them doesn’t do it when they get the chance but then they’re killed themselves in a random act of violence.

In our Hollywood actress story, she achieves success, but like the people around her she’s still struggling with the same problems. Our final scene shows her taking a handful of prescription meds and going to sleep, while it opened with her abusing cheap alcohol and doing the same.

And… what about Structure?

Of course, structure is tough and requires a lot of thought. Scenes in a “plotless” story may feel random but you still need to think about things like character development and the message of the story. 

So as you’re structuring things out, look at what’s being “shown” at a given time with the scenes you’re portraying. Use the scenes to develop the story. Remember to mix up slow-moving and faster-paced scenes just like you would with a traditional narrative structure. 

To summarize - no, a plot is not necessary in every story. But when you throw out plot, other things become a lot more important.

anonymous asked:

I feel down after the new episode, do you think it is still possible that dean will stop sleeping around with women and get together with cas? idk i feel like it will never end and since 11x23 we've seen dean repeat too much that cas is a brother/best friend and it's starting to make me nervous

Well, Dean is a single man, not in a committed relationship (even if WE can clearly see he’s obviously married to Cas), who is allowed to sleep with whoever he wants. Period. But there are some things in that whole scene in the Pickle Jack Shack. And I mean really… the whole place is a sexual innuendo.

Sorry for my “photo of the tv screen screencapping” but… that phallic pickle protruding from the bull riding sign? Ooookay.

(this is also for my two anons asking about what the significance of “Riding Larry” is, so heads up. All will be revealed!)

Also, isn’t it awesome that Sam picked agents Moon and Entwhistle– the two deceased members of The Who as their aliases. THE WHO? on the nose aliases there.

Dean had been “Springsteen, like the Boss” the night before when he’d been talking with her. After she agrees to tell them everything that happened, here’s what she says, with my commentary in parenthesis:

Elke: He ordered burgers to go. It was gonna be a minute. We were slammed. And you knocked back… four shots of tequila?

(already yet another implication that Dean had been drunk, when four shots of tequila for him is probably a warm up)

Elke: Put some (finger quotes) “sick jams” on the juke, and then you hit the bull.

Sam: he what?

Dean: I what?

Elke: Oh yeah, you had the hots for Larry as soon as you walked in here.

(immediately setting an entirely different tone for this conversation, by presenting Dean’s interest in Larry– the mechanical bull with a huge pickle for a phallus– as sexual. Larry is a man’s name, and Dean had “the hots” for him.)

Sam: (quite befuddled by this) He… Dean… you rode Larry?

Dean: (considers this for a minute) Was I good?

Elke: You were– amazing.

(Dean processes that– the fact that he apparently demonstrated skill at riding Larry, and then hums in acceptance of the fact. He smiles. Elke smiles, Sam rolls his eyes so hard he nearly pulls a muscle).

Elke: Anyway, We got to talking, and… you know…

(remember what she’d said earlier, that they were “slammed,” meaning overwhelmed by a rush of customers. Not exactly the sort of situation in which a waitress can “get to talking” with a customer just waiting around for his dinner order to be ready, you know? I already suspect that Elke realizes that Dean WAS roofied here, and didn’t exactly remember what he’d said or done with her… AND THIS I BELIEVE WAS HER TEST TO PROVE IT. She needed to confirm whether he did or didn’t remember what had happened. I’ll quote her here, and then explain afterward)

Elke: (in response to Dean’s complete straight-faced, emotionless waiting for her answer) We blew off some steam.

(Dean STILL has to stop and work out exactly what she means, and then when it registers, Dean only replies with a surprised little “Ah!” Not seeming to recall anything. Because he didn’t. And this doesn’t seem to bother Elke. Because she’s already been told that he was “roofied.” Because most folks would be upset that someone had no obvious response to the confirmation that they’d apparently had sex… It’s kinda insulting, you know? BUT ELKE WAS NOT INSULTED BY DEAN’S LACK OF ANY SORT OF RESPONSE TO THIS INFORMATION. Like the slap to his face earlier implied she would be.)

Sam: Did you see him talking with anyone else?

Elke: My bartender said she saw him run out of here like his pants caught on fire. We were supposed to meet up after close-up. But you never showed… 

(Dean looks lost again)

Elke: Poor thing, you were all roofed up! I didn’t… I am so sorry if I took advantage of you.

Dean: (smiling uncomfortably… because yeah… and patting her on the arm) It’s okay.

(Sam asks if they have security cameras and then the scene shifts to Sam and Dean sitting at a table watching security footage on a laptop)

Dean: First action in I don’t know how long, and it’s like it never even happened. Figures.

Sam: Ha. See now that’s comedy.


Okay, now HERE’S THE KEY TO UNDERSTANDING THIS SCENE: waffles.

Yes, waffles.

Who doesn’t love waffles? May I direct you to the Waffle Masterpost, containing EVERY reference to waffles ever on this show (well, aside from this episode, but I’ll update it in a bit here…)

http://mittensmorgul.tumblr.com/post/156133372175/have-we-ever-seen-waffles-on-the-show-outside-of

But what it boils down to is the fact that waffles in this show share some of the same symbolism with El Sol beer. And if it wasn’t clear enough, there was a huge glowing El Sol sign there for good measure.

But as soon as Dean spotted Elke when he and Sam walked into the bar, he identified her as, “the girl from the waffles.” SHE WAS AN ILLUSION, A DECEPTION. She was the girl from the waffles. Waffles being a “more innocent deception” than El Sol.

Because her story of what she and Dean did contradicts itself. Either they were “slammed” to the point that they were so busy that Dean had to wait so long for his food that he not only had multiple shots of tequila but ALSO had time to ride Larry, or she and Dean had time for a leisurely chat and even MORE time to take a break and go somewhere to “blow off some steam.”

Which was it, lady?

She only knew that Dean LEFT, in fact “ran out of here like his pants caught on fire,” because HER BARTENDER told her. Because Elke was “slammed” with customers. THIS IS WHY SHE SLAPPED HIM. Because Dean ran out before her shift ended, when they were supposed to meet up. He ditched her, and then “pretended” not to even recognize her, after having chatted her up and made plans for after her apparently very busy shift, and that’s why I think she was just fucking with him here.

I mean, either she was so busy that Dean had to wait for service, or she had enough time to have some sort of long talk and a quickie in the bathroom or the alley or wherever. WHICH WAS IT, ELKE?!

So in the conversation that revolved around the fact that Dean had been “roofied,” bookended by “the girl from the waffles” and Dean’s assertion that it was “like it never even happened,” well…

I have serious doubts that anything really DID happen.

I mean, I think he was planning on something happening. He was going to go back after her shift to meet up with her… possibly… but did he ever even get his burgers?! 

And without his memories, is it weird that it took THREE TRIES to find the place Dean had gone that night. That place was the third one they checked out, and Sam would’ve followed the same sort of Hunter Logic in trying to find the burger joint Dean went to, probably starting with the one closest to their motel and working his way out. So Dean bypassed two other perfectly good burger places to walk to THIS PLACE SPECIFICALLY. This place that advertised the mechanical bull riding.

This place where Elke confirmed that Dean “had the hots for Larry as soon as he walked in.”

Dean went out of his way to get a burger from THIS PLACE not because he didn’t think the other burger places were any good, but BECAUSE HE WANTED TO RIDE THE MECHANICAL BULL. My guess? He probably saw the sign on their way back to the motel, and he gave the excuse to Sam that he was going out for burgers while Sam did the research SPECIFICALLY BECAUSE HE WANTED TO SNEAK OUT AND RIDE LARRY.

I mean… ???? This is one of those things that Performing Dean would NEVER do, would NEVER ADMIT TO SAM that he would do. Which is why Sam was so ?????? that Dean actually RODE LARRY.

Because Dean hadn’t been “roofied” yet at that point. That was all Dean.

He wanted to do something silly and fun and homoerotic without being judged for it. This is the same Dean that unapologetically loves Finding Nemo. And waffles…

So he has a few shots of liquid courage and climbs on Larry. We see that scene at the end of the episode. He fully gets that memory back, and what appear to be snippets of Hexed Dean Moments… and yet he gets no memories back of his “blowing off some steam” with Elke.

Because it’s like it never even happened.

I think Elke was slowly realizing throughout her conversation that Sam and Dean weren’t lying about Dean not remembering anything from the night before. So she went from angry over having been stood up and Dean “pretending” he didn’t even remember her, to passive-aggressively answering their questions… to noticing Sam and Dean’s bizarre reactions to hearing that he gleefully rode Larry… and then I think threw in the bit about blowing off steam with him just to see his reaction.

He seemed genuinely incapable of either confirming or denying it, and took her word for it that they did something sexual. He wasn’t gross about it, he didn’t elaborate on her assertion, nor did he immediately deny it either. He just accepted her word and moved on.

Notice immediately after that point she distances herself from Dean with her words… not “he ran out” or “I saw him run out, but “my bartender said she saw him run out.” BECAUSE ELKE HERSELF WAS “SLAMMED.” She was busy DOING HER JOB. She didn’t even SEE him run out without his food.

And really, how the hell long was he there, if he had multiple shots while waiting for the burgers, picked songs on the jukebox, rode Larry, made plans for after work with Elke (that he may or may not have intended to follow up on) while sitting at the bar while SHE WAS BUSY WORKING. Long enough after all that for her to not even notice him suddenly run out? BEFORE HE EVEN GOT HIS BURGERS?!

Like, how the hell long does it take to flip a couple of burgers? 15? 20 minutes tops? Even if they’re slammed?

And he still managed to do ALL THAT ^^ WHILE WAITING?

And then as Dean and Sam ran out the back door, we can see a GIANT glowing El Sol sign just inside the bar.

EVERYTHING that happened in there, aside from Dean riding Larry, was an illusion that started with the girl from the waffles and ended with him escaping out the back door past an El Sol sign.

The ONLY thing we actually SEE that was TRUE was that Dean rode Larry.

(aside to note that Dean confirmed himself that he hasn’t had any “action” in so long he can’t even remember when it happened…)

And for my Larry anons, I have no idea if “Riding Larry” is an idiom, but “riding” is a sexual innuendo. And the implication that Dean rode Larry… well… I mean just watch him and tell me what you think is going on there… Dean… riding a dude called Larry… it’s not complex math here.

(and heck here’s another reference… that time Dean WAS roofied in 9.13… SWEET POTATOES. Salted caramel. Best of both worlds. Salty and sweet. and that reminds me of the other “sweet” references lately in relation to angels… and we’re down the rabbit hole again)

anonymous asked:

Some time ago you talked about things that get you excited in games (like the dialogues in Uncharted 4). There are any upcoming game this year that are you looking for?

Persona 5 in two weeks, hands down, end of story. There are very few games I actively look forward to - the majority of games are usually more of a “Oh, that’s coming. I’ll probably get it” type acknowledgement than anything else. I know how much work goes into AAA game dev, and I enjoy my time with them, but they don’t really excite me much. I like playing them, and they’re interesting, but I don’t feel like I’m missing out if I wait a bit and pick it up later (or sometimes not at all, like how I never purchased a WiiU). My exception to this is the Persona series. I’ve been a huge fan since playing through Persona 3 on the PS2, and I love it from so many different angles. It is the one series I actually get excited about.

For those who are unfamiliar with this series, it’s an utterly bizarre combination of Pokemon-style battle and collection gameplay, Visual Novel Scheduled Dating Sim character and relationship building, and randomly-generated dungeon crawler all wrapped up in an urban fantasy JRPG setting, and it is wonderful. I didn’t think that such disparate core gameplay systems could work so well together, but they synergize like peanut butter and chocolate in a way that got me hooked from the get go.

The metaplot moves forward through day-to-day scheduled gameplay, where the player’s protagonist character meets and befriends characters in a Japanese high school setting over the course of a school year. Each character relationship is represented by a specific tarot arcana, and the strength of your friendship with that character also affects the strength of the pokemon you can collect and summon of that tarot arcana. The pokemon are necessary to battle the enemies in the randomly generated dungeons, which you must complete in order to advance the plot, which opens up access to more of the individual character storylines, which let your pokemon get stronger, which makes the dungeons easier, which lets you advance the plot… and so on. The relationships you build with your teammates translate into improvements in battle. The pokemon you collect also help build closer relationships with your friends. The money and items you collect in the random dungeons are used to buy better equipment, but also gifts for friends and toys and books for stat increases. It’s a fantastic multi-level synergistic feedback cycle that kept me playing for hours because of how many connection points there are between the different core gameplay systems. 

From a developer’s perspective, Persona 5 specifically has got me very interested in their presentation and user interface design. The game is highly visually stylized, and that extends to the UI as well. But it isn’t something particularly basic either - the fonts, the color scheme, the lettering are all highly stylized as well. Just thinking about how they managed to get the fonts to work with that kind of stylization must have been a huge design challenge… especially because they knew they had to localize it to a whole different writing system, while still maintaining the style of the game. I’ve done localization before - fitting stuff from other languages into limited text space is already a challenge, but doing so while adhering to this gorgeous visual style guide is a super daunting task. Are they only rotating or highlighting specific letters? Is there some kind of special preprocessing pass for the the text? Is everything drawn separately and simply treated as a texture? My mind is abuzz with possibilities.

As a player, I love great character development, story development, and deep RPG combat systems. As a developer, I really like seeing how different and deep gameplay systems interact and intersect with each other. The Persona series has managed to keep me fascinated as both a player and a developer for quite some time. Combine this with the totally addictive genre-bending fusion score by Shoji Meguro and I’ve got a game that I’ll easily sink 80+ hours into without blinking and still go back for more. Persona is the only game series I actively avoid spoilers and marketing for, because I know for certain that I will be buying it and I want to remain as unspoiled as possible. 


Got a burning question you want answered?

Queer Self-Presentation and Burlesque Auto-Sexuality in Yuri Plisetsky’s “Welcome to the Madness”

PHEW! It’s finally ready for ya! 

Thanks to everyone for patiently waiting. I was overwhelmed with the response to my teaser post about this meta. I’m sorry it took so long to finish… I had to write the academic version for class, then rewrite it to be tumblr-appropriate (I’m still not sure that it is, constructive criticism is welcome!)

I’m hoping that this will contribute to the ongoing conversation about underage characters in fandom, and am looking forward to your asks. I’m a little nervous to be tossing my hat into the Otayuri discourse, but I hope I won’t catch too much hate.

I took out footnotes but included the bibliography at the end. If you have any questions about specific references, send me an ask or DM :)

Enjoy!

(2272 words)

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Spencer Reid head canons

These are my head canons for this tall idiot , if you don’t agree with them thats okay everyone has there own!  If you do use these could you tag me, so i can see what people create about this baby!!

Originally posted by lanasfeather

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Being masculine in and of itself is not toxic. It is not bad. A lot of people seem to think (especially on Tumblr) that being masculine automatically makes you the scum of the Earth. Particularly regarding trans men, it’s seen as something to be avoided and that trans men are just “soft delicate trans boys uwu” that need to be “protected at all costs”. 

I get it. I struggled with it myself for a long time when I was trying to figure myself out. I called myself “genderq-eer” for a long time, because I refused to accept the fact that if I was indeed actually a man, that I would be a masculine one. I’d had it drilled into my head that masculinity is always toxic and that masculine men are monsters. I didn’t want to admit that I could ever be “one of them”. 

I think I would have been able to come to grips with my transness a lot sooner if I hadn’t been so terrified of being a monster by association. 

If you’re masculine, that has no bearing on who you are as a person - man, woman, GNC or not. Masculinity and femininity are socially constructed, and if you feel more comfortable on either side (or somewhere in the middle) of the “divide”, that’s fine! 

The overarching toxicity that a lot of people refer to when they talk about toxic masculinity is the culture of expectations surrounding men - that they shouldn’t cry, should do “manly” things (fixing cars, house repairs, chopping wood, hunting, etc.), that they should all be straight and womanizers, etc., etc. The only way that can start changing is if everybody works to break down those expectations, and stop jumping down the throats of men who sit on the masculine end of presentation and interests. 

Being masculine in and of itself is not a bad thing.

Being feminine in and of itself is not a bad thing.

What is a bad thing is being an asshole based on someone’s presentation and interests, and their comfort level with anything that doesn’t fit in the societal boxes of “boy” things and “girl” things. 

Drove All Night

So I was inspired to write this after watching the Voice in which Celine Dion was coaching some singers to perform her version of Drove All Night that’s been redone like a thousand times.

Waverly and Nicole are in a long distance relationship, but Nicole feels like surprising Waverly. If the title didn’t tell you exactly what happened… the below gif has nothing to do with the fic, I just think I’ll use it as often as possible

Originally posted by mzhyde48


“Wynonna….” Waverly whined in frustration. “I have to go.” Looking at her wristwatch, she could feel each second that bled away with her sister’s asinine…

“But… you’re the only one that pours my shots the way I like them.” Wynonna gave her a pleading look until she received the snap of a towel to the back of her head. “Hey!”

“Leave your sister alone, Wynonna.” Gus slipped behind the bar, grabbing a few empty pint glasses. “She’s got a date.”

“It’s not a date.” Waverly protested, unable to hide her smile as she untied her apron. “It’s just a call.”

“A pre-scheduled call that happens every Friday.” Gus pointed out as she filled a glass with beer.

Keep reading

how-i-met-your-mulder  asked:

(from someone who has spent her day stuck in DC traffic) do Mulder and Scully get stuck in DC traffic together?

The D.C. beltway is cruel and unusual punishment for the most incessant leg bouncer on the East Coast and the (admittedly) cruelest morning person in the world.

In their first two years together, they would get mutually stuck in separate cars. Scully was a soft twenty minutes from the Hoover building, at best, but still apt to slam the brakes and mutter sailor’s daughter classics under her breath as she rounded DuPont circle. Mulder once bounced his knee so hard he dented his steering wheel.

When it got particularly unbearable, serpentined down the faded highway lines in the six a.m. sun, he would call her for the amusement of it. She could be parking her car, or breezing into the office with coffee on the corner of her mouth, and he’d call her from six trucks back from a three car pile up and she’d find a way to be frustrated. Oh my god, Mulder, I can feel how slowly you’re going.

The arrival of the water bed makes things interesting. The arrival of Dana Scully, in her wire-rimmed glasses and too-big shirts, in his water bed makes things considerably more interesting. The sloshing, slow death of the water bed and the introduction of a brand new, medical doctor approved king sized mattress forgoes interesting altogether and presents something of a genuine problem. Alexandria is nails-on-a-chalkboard miles off from the heart of Washington. Scully keeps saying they shouldn’t stay at his place and then pushing at his chest and falling asleep in his brand new, medical doctor approved, king-sized bed.

The morning after she tells him she loves him for the first time, they get stuck behind a fender bender for almost an hour. She puts a hand on the parabolic arc of his knee in the passenger seat and digs her fingernails into the cap. 

“Stop or I’ll kill you, I swear to God,” she says. And to the woman next to them, pulling tight past a median: “Oh, get fucked, Virginia.” (He loves her, his early morning bully, painfully, senselessly).

Later, years and years, she’ll drive her absurd war car all the way out to the white-grey grass around their low-slung Virginia house even though it doubles her commute. He tries to wave her off, and she tells him people usually need licenses to drive cars. Still, sometimes, he wakes up in her anonymous blue bed and the ride in is so quick and quiet that he doesn’t blink or he’ll miss the way she smiles. He starts to bring them both coffee in to-go thermoses they’d gotten from God know’s where. She always blushes when he hands hers over, like she’s reading some intimate and incomprehensible love note into the plastic declaration of “Coffee First.”

Once, he exchanges the mug for a smile, wordless, because he’s spent enough pre-caffeine mornings with her to know his place. She doesn’t drink it, just looks at him for a long time. He rubs the back of his neck. He’s been her subject for years, a willing experiment, but it’s been months since she watched him with something besides clinical detachment.

He says, “I didn’t forget how you take it or anything.”

Black. Like it was hard to forget. Still, if she’d taken it with three and a half sugars and a teaspoon of cream, he wouldn’t have forgotten. 

She nods. The radio says the beltway could tie them up for an hour. Scully takes a sip and leans over the absurd console of her absurd car and kisses him closed-lipped and quick. She puts the car into drive.

He thinks, Coffee first. Thinks, fondly, as they pull into the white morning light and dawn-break traffic: Get fucked, Virginia.

Sherlolly Appreciation Week Day 7: Free Choice

Flirt (Regency Sherlolly, Rated T)

“Mr. Holmes! Wh-what are you doing here?”

Sherlock Holmes, reputed rake and highly eligible bachelor, raised one elegant eyebrow before glancing down at the fan clutched so nervously in Miss Molly Hooper’s hand. “Ah,” he said, bowing slightly. “You were signaling someone else with your fan to meet in the gardens. I thought you were looking at me…well this is awkward.”

Miss Hooper’s cheeks turned red with mortification. “I was not…how dare…”

He had the audacity to laugh at her reaction. “However, I fear the object of your flirtation, Mr. Thomas Ashe, is untutored in the language of the fans, and is currently dancing with Miss Janine Hawkins.”

Instead of wilting, Miss Hooper straightened her (delightfully bared) shoulders and gave him a look of cool appraisement. “The same Miss Hawkins who has been seen much in your company as of late, Mr. Holmes?” She snapped open her fan and fluttered it in front of her (impishly lovely) face, so that only her (large, doe-like) brown eyes showed above the yellow lace.

Sherlock studied her through narrowed eyes. Clumsy as her use of the fan had been when attempting to signal to the young man for whom she’d presumably set her cap - and as nervous as her reaction to him had been when he instead of the insipid Mr. Ashe had joined her - he’d anticipated a corresponding lack of spirit in her responses to him. Instead, he found himself facing a very spirited young lady, not at all the wallflower society whispered her to be.

“Miss Hawkins finds my company tolerable only in that I am able to steer her towards the unmarried young bucks who might best suit her temperament,” he said, surprising both Miss Hooper and himself with his honesty. “She believes me to be, shall we say, uninterested in the charms of the fairer sex, despite my reputation to the contrary.”

“And why would she believe such a thing?” Miss Hooper asked, her fan lowered and her face bright with curiosity. “Could it be because you have deliberately led her to such an understanding, in order to keep her attention away from you? I have heard that you are not much interested in putting aside the freedoms of bachelorhood in order to take on the role of husband.”

“Well, Miss Hooper,” he replied, dropping his voice an octave and quite enjoying the way she swallowed and moved a nervous step backwards, “I find that you are much more interesting than you have presented yourself previously at these tedious functions.”

He took a deliberate step forward, causing her to back up yet again, until stopped by the presence of a pear tree. He leaned one arm above her shoulder and dipped his head low. “Tell me, Miss Hooper,” he purred as his mouth hovered just above hers, “what other fascinating things shall I learn about you this night?”

She surprised him yet again by breathing out, “Why don’t you kiss me, Mr. Holmes, and find out?”

Sherlock quirked an eyebrow in surprise, lips curling in a reluctant smile of admiration at her daring - nay, challenging! - response to his blatant sexual teasing. If she thought he’d back down she was in for a shock as he closed the slight distance between and claimed her lips with his own.

                                                  oOo

Oh, la, what was she doing? Molly felt her heart hammering in her chest, not so much a frightened dove seeking freedom as a war-drum beating out a dangerous rhythm. Sherlock Holmes had just complimented her; he’d joined her in the moonlit garden even knowing that her fan signal hadn’t been for him…and now he was kissing her. Her very first kiss, and hardly the chaste, tender peck her novels told her young ladies should expect from their swains. No, this kiss was hungry and demanding and made her heart beat even faster.

She barely noticed when she looped her arms around his neck, her hands clinging there for dear life as he slid his tongue between her lips. Her mouth parted in surprise and then his tongue was sliding against hers and it was all sorts of sinful and wrong and she never, ever wanted it to end.

All too soon, alas, he pulled back, studying her intently. She felt her already-flushed cheeks warming even more beneath his scrutiny, but she raised her chin and met his gaze unflinchingly.

“Miss Hooper,” he said, “I do believe we are about to shock everyone at this ball.”

“How so, Mr. Holmes?” she asked.

His smile was closer to a smirk as he stepped away from her, bowed, then straightened and offered his arm. “Because I am going to fill your dance card, cause Miss Hawkins to berate me for misleading her, and give your chaperone palpitations when I announce my intention to call on you tomorrow.” He tsked in mock sorrow. “All very shocking behavior for a supposed rake.”

It might be a scandal in the making and the ruining of her reputation, but all Miss Molly Hooper could do was laugh helplessly and allow him to lead her back into the ballroom.

No matter how the night might end, she decided, it would all very much be worth it.

From this list of Historical AU prompts.

Flirt

“Mr. Holmes! Wh-what are you doing here?”

Sherlock Holmes, notorious rake and highly eligible bachelor, raised one elegant eyebrow before glancing down at the fan clutched so nervously in Miss Molly Hooper’s hand. “Ah,” he said, bowing slightly. “You were signaling someone else with your fan to meet in the gardens. I thought you were looking at me…well this is awkward.”

Miss Hooper’s cheeks turned red with mortification. “I was not…how dare…”

He had the audacity to laugh at her reaction. “However, I fear the object of your flirtation, Mr. Thomas Ashe, is untutored in the language of the fans, and is currently dancing with Miss Janine Hawkins.”

Instead of wilting, Miss Hooper straightened her (delightfully bared) shoulders and gave him a look of cool appraisement. “The same Miss Hawkins who has been seen much in your company as of late, Mr. Holmes?” She snapped open her fan and fluttered it in front of her (impishly lovely) face, so that only her (large, doe-like) brown eyes showed above the yellow lace.

Sherlock studied her through narrowed eyes. Clumsy as her use of the fan had been when attempting to signal to the young man for whom she’d presumably set her cap - and as nervous as her reaction to him had been when he instead of the insipid Mr. Ashe had joined her - he’d anticipated a corresponding lack of spirit in her responses to him. Instead, he found himself facing a very spirited young lady, not at all the wallflower society whispered her to be.

“Miss Hawkins finds my company tolerable only in that I am able to steer her towards the unmarried young bucks who might best suit her temperment,” he said, surprising both Miss Hooper and himself with his honesty. “She believes me to be, shall we say, uninterested in the charms of the fairer sex, despite my reputation to the contrary.”

“And why would she believe such a thing?” Miss Hooper asked, her fan lowered and her face bright with curiosity. “Could it be because you have deliberately led her to such an understanding, in order to keep her attention away from you? I have heard that you are not much interested in putting aside the freedoms of bachelorhood in order to take on the role of husband.”

“Well, Miss Hooper,” he replied, dropping his voice an octave and quite enjoying the way she swallowed and moved a nervous step backwards, “I find that you are much more interesting than you have presented yourself at these tedious functions.”

He took a deliberate step forward, causing her to back up yet again, until stopped by the presence of a pear tree. He leaned one arm above her shoulder and dipped his head low. “Tell me, Miss Hooper,” he purred as his mouth hovered just above hers, “what other fascinating things shall I learn about you this night?”

TBC?

Too Much to Ask

Prompt from anonymous: cole revealing Cullen’s feelings to the Inquisitor?

The room laughs at Varric’s tale but Cole shifts in his seat, eyes darting around the table but never at his cards.

“Come on, kid. You in or you out?”

“I…” His hat flops over his eyes and he shakes his head.

The Inquisitor sets her cards aside, eyeing the spirit. “Cole, what’s wrong?”

“He’s hurting,” Cole whispers. He tugs on her sleeve—a silent request to step away from the game. Away from the emotions.

“I’m out for this round,” she says, handing her cards back to Josephine. “But don’t think I won’t win back my money later.”

“Promises, promises.” The ambassador laughs and the table absorbs the two empty spots with a quick shuffle of hands.

Cole leads her to the loft and crouches on the railing. Hands twitch. Neck turns to the side. His eyes are on the game but he’s looking beyond it.

She stands beside him and waits for him to begin.

“He’s hurting—aching. I want to help but I don’t know how.”

“Who is?”

He is. Lion-hearted but so afraid. He leans across the table, in awe of her, yearning to be closer. She is so brave, so beautiful; he wants to taste the courage on her lips.” Cole’s eyes flick to her before returning to the table. His words come faster. “His hand brushes against her and it makes his heart pound. He wants her to notice. Wait. Does he? No. She is too good, too bright. It is too much to ask. But being without her hurts.”

Cole slides from his perch like a shadow. His blue eyes fix on her, all knowledge and sorrow. Her heart pounds within her cheeks; she grips the railing now, afraid she’ll fall if she lets go.

 “Cole, are you…” The words can’t escape her throat. She turns to the game, gaze fixing on Cullen as his head throws back in laughter. He is stripped of his armor in more ways than one. She swallows the lump and forces the question. “Cole, are you sure?”

“The nightmares often come for him but tonight he’ll dream of you.”

A smile grows on her face until her cheeks ache. “…thank you for telling me. I’ll make sure he doesn’t hurt anymore.”

“Did I help?”

“More than you know.”