just because of this story arc

When she finally finds Nymeria again, or Nymeria finds her, and she of course wants her to come back home with her and be her loyal companion again, but Nymeria’s found her own life.

oh these dumb motherfuckers lol. the direwolves were never simple “companions” for the stark children. “these wolves are more than wolves YOU MUST KNOW THAT”!!!!!! they’re actual extensions of their souls. they’re bonded that deeply. its a marriage! they wed for life! the old gods sent them to the starklings to protect them which is more important during winter than ever before but these idiot writers just write them off with bullshit fake deep excuses. when the least they could do is just being honest and say they can’t afford to keep them in tbh. because they’re hugely crucial aspects to the stark kids character arcs so the fact that they’re all been ignored reflects how wrong they’re doing their stories. 

nymeria can’t be too wild for arya. she’ can’t have her own life. they’re two halves of the same whole. they belong together. 

pride is a five letter word that can be the hardest to swallow
accepting yourself is so much of a struggle
it can be ever harder when you have no lead to follow
no one to turn to, no guidance; nothing but trouble
so you became what you ever had; you took the opportunity
you became someone others could look up to
you never meant to be an icon within this community
but thank god you did, because we’d be so lost without you
you taught us that coming out is just one climax of your your story arc
you showed us the beauty of pride and all of its wonders
you may have felt lost in the dark
but you were such a light to others.
—  Having Pride ❤️💛💚💙💜  @thatsthat24
(cc, 2017)

❤️ This blog supports, loves, and appreciates Cullen Rutherford. He is a complex flawed character who makes mistakes but who atones and grows and redeems himself, and he deserves to be happy and loved and at peace with himself. ❤️

Originally posted by dalishelfblood

... Somehow, Still Talking About This Captain America Shit (Now With Bonus Spider-Man and Agents of SHIELD)

So now Secret Empire has revealed its Shyamalan Twist and given the readers a Good Guy Steve Rogers as well as Hydra Cap, and the kinds of dickbags who, when this whole bullshit began were dismissing people’s complaints with “oh come on, don’t you know how comics works, it’s all going to be put back at the end, blah blah blah…” are crowing I-Told-You-So’s.

But here’s the thing:

Yeah, fucknuts.  We always knew this.

Keep reading

People on this site are just…disturbing when it comes to fiction in general.  They literally want everything to be perfect, happy sunshine and roses (probably because so many of them are living vicariously through fiction as a substitute for reality, and thus can’t help projecting themselves into it).  That’s just…not how fiction works.  That’s the most boring shit–who honestly wants to read/watch that???  We NEED strife in fiction, as there is strife in reality.  Characters NEED obstacles to overcome in order to have a character arc.  A story NEEDS a conflict to actually be a story.  If all you ever read is the kind of Mary Sue crap where everyone gets along, you’re going to be the most boring, sheltered motherfucker, and have no idea what to do when you get out into the real world.

Villains need to be allowed to be villains.

Characters need to be allowed to have bad things happen to them, even if they’re the “good guys”.

Fiction needs “bad” things, because it helps us recognize, understand, and cope with those “bad” things.

I have some opinions/thoughts that I’d really love to get off my chest even if other people think I’m completely wrong.

Gaston did not deserve to die, Gaston was hardly a bad person, Gaston was basically forced into being the villian of this story.

[I’m referring to the 2017 remake of BATB rather than the original animation.]

Let’s point out some difference between the 1991 Gaston and 2017 Gaston
-2017 Gaston was not a misogynist
-did not abuse Lefou
-even verbally
-Like for fucksakes, the friendship between Lefou and Gaston was so genuine. I’m frequently seeing these things around Gafou is an abusive ship, buts it’s really not? He tells Lefou ‘thank you’ says ‘you’re the best Lefou’ sincerely asks ‘how has no woman snatched you up?’, messes around with Lefou like buds (wrestling bite marks, picking him up to demonstrate strength, gets on the table and dances with him), let’s Lefou calm him down and boop his nose, and not once does he insult or hurt even when it seemed like he would (after Lefou wrapped his arms around him, or when he couldn’t spell his name, when he said ‘who needs her when you’ve got us’, etc). They’re sincerely good, close friends, but don’t worry I’m not ignoring all the shitty things Gaston did to Lefou I will get to that in a second.
-I said he’s not a misogynist, right? Cause that’s important. Big step away from the OG.
-Doesn’t insult Belle for reading
-Instead he feigns interest in the book because he knows it’s her interest
-even brings her flowers, whataguy
-Has manners (“excuse me, please let me through” going through the crowd, didn’t push everyone out of his way)
-Goes to her rescue when the town’s people are being mean (sure this is because he wanted to be the hero to seduce her, but seriously he was one of the few people who didn’t harass or bully Belle for being different)
-Doesn’t call Maurice crazy and instead offers his help to soothe the men (again, seduction, but seriously he’s still being polite and helping the underdog unlike the OG)

I’ll probably think of more things to add to this Gaston-wasnt-an-asshole list but I think this basically gets the point across that, well, Gaston wasn’t an asshole. He was immensely vain, yes, but that doesn’t mean he was a bad person.
Cus ya know who else started out incredibly vain but still managed to be the fucking prince in this story?
Yep, the Beast/Adam of course.

Time to do some comparing of the prince and the villian because spoiler alert, they basically parallel each other.

I’ll begin this part with Belle’s comment of, “No one can change THAT much, Gaston”
Ahem

LITERALLY SHUT THE FUCK UP ARE YOU SERIOUS
This line pissed me off immensely, because that’s literally Adam’s entire character arc, changing himself completely, literally and figuratively.

Like I’m sorry you wanna do a repeat of the song “Something there” aka the song where the lyrics are basically “he was an asshole brute who I hated but now he’s c h a n g e d”
Literally so pissed off at that all.

But as I was saying, Gaston basically mirrors Adam’s arc, meaning to say they’re practically the same character things going on but sorta reversed.

Like okay
-Upon first meeting Belle, the Beast locks her father then her in a tower and is a huge dick but then they bond over books and he gives her flowers and he’s nice to her.
-Upon first interacting with Belle, Gaston is nice to her, gives her flowers, tries to bond over books, but then he’s a huge dick and locks her father and then her in a cart.

Do you see what I did there? Literally the same actions, but backwards.

Let’s do some more comparing.
-They both have terrible, terrible tempers.
But you know what? The Beasts is definitely a lot worse than Gaston’s.

Let’s review how both Gaston and Adam dealt with Belle’s dinner rejection
-Beast: literally motherfucking demands she has dinner with him, bangs his paws on the door, scrEAMS at her, and then announces she can starve if she won’t eat with him
-Gaston: [not direct quotes, can’t remember exact words but basically what he says] “oh, busy?” nope “okay, then some other time?” boom that’s that. Yeah he still is persistent on winning her over even after this rejection but the man handled it a lot better then Adam (and he brought flowers for her dinner table).

I’m about to move on from Adam and start talking about how Gaston treated Lefou in a sec, but I would just really really really like to put some emphasis on the fact that both Adam and Gaston were incredibly narcissistic men. The amount of self pride and conceded they have is in the beginning is completely parallel and it leads to both of their unfortunate fates. The point in this, is Gaston is not a bad guy just because he loves himself a bit much, just as the Beast was not a bad guy for loving himself too much. Like, the way Adam turns down Agatha for being ugly seems exactly like something Gaston would do, so why does the movie end with Gaston dying while the Beast learns his lesson and gets his happily ever after?
Because, the OG Gaston was truly an asshole who deserved to die and this 2017 remake of course had to stay true to the story. Even though this Gaston really wasn’t a true villian and didn’t deserve to die – rather he deserves a redemption arc just as Adam was given – he died anyway because that’s how the story goes.

Anyway, I’ll get on with this and bring back Lefou.

Some of you have probably been reading this while thinking “But Marley [das my name], Gaston was a shitty person, he wasn’t a good friend to Lefou at all because he manipulated him, let him get punched in the face, didn’t protect him at all, and threatened to lock him up. Plus, he was only into Belle because she’s pretty.”

Alright alright alright: Lefou.
He’s an exceedingly important character as he gives us insight to Gaston’s character.
Two crucial things he reveals about Gaston … .

-Gaston has anger issues. My father has anger issues, and so do I, and we both are on meds for it. Let me say, having anger management problems and getting angry are very different things. It’s just like he having anxiety and getting nervous are very different things. I think most of you can probably relate or understand anxiety more then anger issues, so just put yourself in Gaston’s shoes with that in mind. Anyway, back to Lefou. He shows us that Gaston has anger issues when he rushes to Gaston’s aid by saying “deep breathes” and then “think about the war”. He tells us that Gaston has coping mechanisms for when he gets like this. Does it matter if Gaston has anger problems? Does it make him less of a dick? Like, seriously Marley, does this information really make up for any of the things he did? Yes, yes it does matter. It’s like when you/someone your love is having an anxiety attack, or when you fall into a depressive episode, or when a loved one acts out of PTSD [which Gaston could totally completely have], or when someone with schizophrenia or delusions starts having episodes, it’s basically exactly like whenever anyone’s mental illness starts to act up. You don’t feel like yourself and you don’t so things you would normally​ do. This is definitely the case for Gaston; he acts out of character when he gets angry like this. And that’s my second point that Lefou proves in this movie.

-Gaston is not being himself when he starts doing all that terrible shit that leads him to his demise. Lefou makes it fairly obvious that that is not how Gaston usually acts. He does this in numerous ways which I will quickly try to summarize and go through:
1) Questions Gaston. Obviously if Gaston often tied up old men to trees or in general left people to die, Lefou would have just went with it instead of going “are you sure?”
2) doesn’t immediately lie to save Gaston’s ass. Again, if Gaston frequently had Lefou lie for him, then it would have came to Lefou like second nature and he wouldn’t have hesitated.
3) Once more, questioning Gaston. The scene I’m about to refer to is when Gaston locks Belle and her father in the carriage. Lefou grabs Gaston’s arm and goes to question him again, but before he can Gaston threatens to lock him up as well. Dick move on Gastons end, no? But this isn’t something he would normally do or say to Lefou, for if it was Lefou wouldn’t have bothered speaking up because he would have known what Gaston’s reaction would be. Instead, Lefou is used to being able to talk sense into Gaston and reason with him (refer back to nose boop scene).
4) Running to Gaston’s side for protection during the fight [castle scene]. Lefou is probably used to having Gaston protect him during fights (war time) and obviously didn’t expect Gaston to throw him to the enemy. Like, yous guys heard him shriek Gaston’s name before the piano fell on him, right? He was obviously expecting Gaston to rescue him. Even after he’s trapped under the piano, he still reaches and calls out for Gaston. The way Gaston is acting is not the Gaston he knows.
5?) “I was on Gaston’s side, but we are so in a bad place right now” [however he says it you know the line I’m referring to]. Aight I think this is the one line that really captures the point I’m trying to make. Lefou has switched sides because Gaston is being a major douchebag and Lefou’s not having it. Lefou doesn’t put up with being treated like shit [MrsPotts saying he deserves better and Lefou agreeing]. So o b v i o u s l y Lefou is not used to Gaston being so cruel and angry. If Gaston treated Lefou like this all the time, then Lefou wouldn’t be by his side [because he left his side once he started acting like this]. Lefou knows how he should be treated, and how he’s being treated is not what he’s used to.
You dig what I’m saying? I’m kinda rushing through these points because I’m getting tired of this.

*deep breathe* Alright, last point, as I mentioned above, ‘Gaston only wanted Belle because she was beautiful’ Alright alright alright I’m not even going to talk about the Gaston in this point, I’m just going to talk about the huge flaw that is Beauty and the Beast.

Adam is turned into the Beast because he needs to learn to not judge people by how they look, he needs to learn that it’s what’s on the inside that matters.
Right.
So why is Belle the one that learns this lesson?
Adam falls in love with a gorgeous girl, meanwhile Belle falls in love with a hideous monster who turns into a nice dude on the inside.
Belle is the character who learned to not judge a book by its cover [cover being a monsterous beast but inside he is a gorgeous prince].
As soon as Belle walked into the castle, all the furniture was like “yooooo she could be the one, master hit her up” and instantly Adam’s like “well I need a girl to fall in love with to break my curse and she cute yeah let’s do it”. Like of course there’s more to our then this, but what I’m trying to say is Adam had already planned to try to charm Belle before he knew what kind of person he was because he was desperate to break the curse.
So he and everyone in the castle just saw her and was like “she was a girl, he was a boy, can I make it anymore obvious?”
So anyway anyway anyway, Gaston was only interested in Belle because she was beautiful and he wanted a wife, but Beast was only interested in Belle because she was beautiful and could break the spell. See the parallels again? Like, Beast later fell in love with Belle for who she was and she made him a better person, Gaston could have totally done the same thing.
And okay, there’s no proof Beast cared that Belle was beautiful or not, but yo, Disney definitely should have made Belle ugly af so when Adam met her the snob in him would have been “ew she’s ugly, next” and then Lumiere and Mrs. Potts woulda been like “boi Imma whoop yo ass if you don’t give that girl a try, I don’t care how fucked up her teeth are smfh” and then Adam would have learned the lesson that the enchantress was trying to school him about in the first place [this applies to the 1991 animated film, not directly at the 2017 btw]

Well I was trying to keep this professional and moreso eloquently written but you can tell I’m coming out of my cage and I’ve been doing just fine gotta gotta be down because I want it all

Okay okay okay
Okay okay
Okay

I believe we’re nearing the end. I believe I’ve said all I needed to say made all the points I could [honestly definitely not because I’m constantly thinking about this and arguing with no one in my head, I have a lot to say and later I’ll be making toast and be like “anD ONE MORE THING”]

I’m very upset Gaston died because he wasn’t a terrible enough character to deserve death.

So Dear Disney, either make Gaston more of a shitty person, or bring him back to life. I’ll be waiting for an apology letter until this is done.

Of course I’m kidding.

I just have such a love and passion for Gaston and I’m truly sick of hearing people tell me that Gafou is an abusive ship and Gaston is a villian.

And if you refuse to see that Gaston wasn’t a bad guy but still believe that Adam is such a prince than you’re insanely hypocritical.

People just see what they want to see.

Also I’m terribly sorry for making this so diddly damn long, I honestly have no idea how to do the cutoff “Show more” thing, I’m on mobile. So sorry if you’re trying to rapidly scroll past all of this and it’s taking forever.

But honestly fuck you don’t scroll past my argument.

And also if you legit read all this then motherfucking congratulations to you. Like I don’t even want to read all of this shit to edit it.

Thanks for the attention. Marley OUTT

i love laura moon so much just because she is the biggest ‘fuck you’ to the refridgerated woman trope, aka that cliche where the male hero is (briefly) grieved over the loss of his beloved and saint-like mother/sister/girlfriend/wife only to have that woman’s death serve as a launching point for his story arc. like american gods starts and you think it’s the usual ‘perfect wife is killed leading male protagonist to seek revenge/purpose’ but no, no she isn’t perfect, she’s actually easily unlikeable, but more importantly she makes a literal return from the grave in order to be an active part of the story and to act as more than just an extension of the male protagonist.

can we stop pretending that this whole karamel v supercorp is a normal, petty shipwar?? Cause it’s not. I don’t hate karamel because mon-el is straight, or white, or cis, I hate karamel because I am watching a toxic, abusive, unhealthy relationship being portrayed as cute and romantic and #goals.. in 2017. I hate karamel because a season long build up to an interracial, healthy af romance was pushed aside to make way for a bland ass, slave owning, abusive piece of shit. I hate it because it has turned a feminist show that put family and friends first into The Mon-Hell Show where the female lead isn’t the protagonist, and the character development has gone to shit. Where the fuck is James? Where the fuck is M'Gann? Where are the completed and satisfying sanvers story arcs we were promised? That’s why I hate karamel, not because Kara’s pussy pops for Lena Luthor eternally, which, lesbihonest, it does.

Oghren as a character makes me so sad because like…. the concept was there. Alcoholic warrior who fell from grace in his realm? His entire story in the Branka arc? So good. So much meat there. Even when you first meet him, hes violent and rough and boozey, but he has a personality. Hes smart. Hes motivated. He has a heart of gold, and you can see it. But after that quest he just? Has no character? His entire personality is reduced to “drunk”. He gets almost no development, and what he does get afterwards is gross and seedy. Hes lecherous and dirty, and not in a fun, interesting way. The game’s “dirty drunk uncle” act it plays with him isnt funny. Its annoying, and it feels like hes taking up space.

I know not all media is perfect, and lord knows Dragon Age is far from it, especially Origins, but its just so disappointing that Oghren wasnt the best of our companions, not the worst. Because like, he had potential. They just squandered it in favor of a cheap trivialization of alcoholism and chauvinist jokes

Homestuck Meta Theory

Alright, so I know there’s a lot of people disappointed with the ending, again, I sound like a broken record by this point. And don’t get me wrong- While I love the ending, I would still love to see more of the characters and the story! I just feel it’s a good end as it is. I’ve made a lot of theories about what the End means and everything about Act 7, but all of the things I said, about the Jujus, about becoming freed from Paradox Space, it made me think about the rest of the story, and I believe it has made my entire idea of what Homestuck is change.

So the big question here is, what IS Homestuck? Most people, including me, when talking to someone who knows nothing about it, will speak about the story, the 4 Kids playing SBURB, and the subsequent destruction of Earth. And then mention its huge amount of references towards programming languages, popular culture, storytelling in itself, and it’s self-referential nature. But this Ending has got me thinking that maybe the reason why so many people have been disappointed in the End is because they got Hussie’s intentions wrong.

We tend to reference how the humor and the nature of Homestuck’s narrative is a little extra onto the story, and while it is true the story itself and the characters have drawn a big part of the Fandom, I thought… What if the important part of the Narrative isn’t the Story, but the Meta elements.

As soon as I made connection, everything about the ending began to fall into place. I have commented before that I feel Act 7 is like being shown the Good Ending of a video game without seeing its Neutral Route. 

The Kids have Earth, and Juju Vriska uses manages to flip the ending so that instead of being trapped by Paradox Space’s rules…

They manage to ‘End’ the game properly and get their Happy Ever After.

All while Caliborn is shown getting his power of Immortality, and while we’re left ambiguous about what happens to Vriska and Lord English and everyone in the Dream Bubbles…

Another thing people have complained about is the Character Arcs.

They say how ‘different’ the timeline is. What was the point of Rose’s alcoholism if then Vriska just swats the drink away and it never had any relevance anymore? Terezi’s relationship with Gamzee never happened. Dave and Karkat got together? The Game Over Timeline is bad, everyone agrees that people dying is never good, but they also claim that suddenly having all that Character Development changed made them unable to relate to some characters anymore.

And of course there’s always the mention of how Vriska, even though she’s an abusive 8itch, ended up being somewhat of a heroine, or at the very least not seemingly getting too punished…

That’s where the Narrative itself told us there was something off.

DAVE: rose we dont have fuckin “arcs” we are just human beings

Many have mentioned it, about how not having a closure to certain character arcs referenced this portion, the notion that the characters didn’t have an arc. The same way she then references Jade breaking Endgame ships and such. Rose’s power is Light, and her information source comes from the same place as SBURB and Skaia. It’s a game. Of course she’d have the notion that all of them have to fit certain predisposed stereotypes or their stories have to follow a certain pattern- Rose is looking at their lives since SBURB started as it has been. A Story.

But Dave is having none of it. Dave is beyond the thought that all they do has to follow a set pattern, and claims they don’t have character arcs. This might sound like a clever device by Hussie so he didn’t have to explore more of each of these character’s lives and he could close the comic leaving some loose ends but, there’s more.

Hussie? As an entity? Exists within the story. This would be all fun and dandy if it were a couple of stupid references and memes. And that’s what many people think! Most of his appearances in canon have been a joke, really. But…

Hussie joked about his influence on the comic, when his bot-self was about to mess up with the Kids in the Yellow Yard, but eventually didn’t do it. And yet? His fight with Vriska. His interactions with Caliborn. Everything pictured above? Hussie is a physical entity that follows the same rules as everyone else in Paradox Space and can influence the story. But he’s not a self-insert. He IS the Author. He is the one who wrote every of these characters and continued the story. He’s not another character, he’s himself, in the Homestuck Universe.

And then it began to dawn on me, that perhaps the Meta aspect of Homestuck was a bit more than Fourth-Wall Breaking fun and references to real life stuff. Of course, this train of thought led me to another main plot device that has never exactly been explained to its full extent. Jujus.

There’s the Sucker…

The Crowbar…

The House Juju…

A lollipop that could change character’s personalities, making them immediately make up for aaaall of their mistakes without a care in the world, start alchemizing new weapons, and end up exactly where they needed to be.

A crowbar that can break other of these mysterious devices, and more importantly, has been shown to be able to interact with the Website itself, which seems to be its own physical entity as well!

A house that gave John the ability to change the story, and that ended up being used against the Big Bad of the entire comic.

A puppet that trapped the Souls of various characters and became the gateway for the Big Bad of the comic to become who he is.

A mysterious pair of rings that oh so conveniently appear and disappear on characters, and leave you wondering what they really do, but clearly shown to at least be able to revive someone who, by no other means in the story, would have been able to get back to the world of the living.

Jujus are mysterious, when you look at them from the perspective of the characters. They have no beginning, no end, they just appear at some point and do a loop through time, ending up exactly where they appeared first. They are powerful artifacts able to change reality itself, with no explained origin… But we are no characters. We have seen what these things do on the comic through its entire lengths.

Jujus are plot devices meant to alter the Meta of the comic. They are not things that make sense in a true physical reality. They are artifacts that alter the rules of the plot. Because that’s what the plot is. A story. Because Homestuck is not real, and it acknowledges this.

Or at least… It was supposed to acknowledge this. Many have also claimed that the last updates were so disappointing, compared to Cascade, as Cascade managed to solve so many plot points, but this last one felt empty of everything. Plot. Character Development. That’s where Jujus and Hussie come in.

Hussie dies, in his own comic, a comic that acknowledges him as the actual AUTHOR of the events taking place. And later, we see…

Caliborn, the young version of Lord English, acknowledging Hussie’s death, as he takes the rest of Act 6 and makes it his. Through the use of the Command Prompt, through his own drawings, he begins to write his own story.

[S] Cascade had so many plot points resolved, and these last updates didn’t. Because that is the point. Ever since Act 5 ended and Act 6 started, Hussie has begun to lose control of the story. He was killed by Lord English, the big bad, who also took control of the narrative. Vriska acknowledges a narrator speaking, and forces the narrative to shift back to her opening the Juju chest out of frustration. The command prompts, John’s retcons- At this point, Hussie is no longer in control of his characters.

The Game Over timeline was bad, but it felt like it had more Character Development. That is because it was a not-retconned Timeline. The characters had struggles, the plot moved on forward, some people was possessed, it was all prime material for a conflict and a resolution afterwards! But Aranea’s intervention made it a Doomed Timeline. A Bad End. We all know how Doomed Timelines work, so everything that happens there would have been totally irrelevant. But John didn’t want to accept that. Roxy was still alive, and sad. And Terezi wanted him to fix things up. So instead of acknowledging he was in a Doomed Timeline, like Roxy did? Roxy, who saw her mother-daughter die in her arms, and claimed there might be nothing left for them. And meanwhile, John just managed to get his powers ready, zapped back in time and solved everything.

New problems arose in the new Timeline, sure, but not as many. And a lot of the character arcs were suddenly shoved back. Rose no longer struggles with alcoholism, Karkat doesn’t chase after Terezi, and becomes Matesprits with Dave after mellowing down. Gamzee, one of the biggest dangers, is shoved back by Vriska until he’s barely relevant anymore.

And all of this might just be me trying to find an explanation to the sudden loose ends not being tied. But I think, all of this, was meant to express more than Hussie rolling the story back or changing the story to fit other things. No.

We go back to Dave’s words. We’re real people, we don’t have arcs. We are real people. In a comic, where the author is a character, and that always acknowledges it’s a comic? Dave saying they’re real people is big. It was taken as a joke, because they are characters, come on! Right? … Right?

Well of course they are. But that’s the thing. Up until Act 6, all of the various characters were nothing more than that. And even during the Game Over Timeline, they were nothing more than that. But Hussie’s death, the ghosts, no longer relevant, trying to fight back against Lord English? Caliborn’s acknowledgement of a story and trying to take control of it? And finally, John’s powers.

The House Juju gave John something more important than being able to change the Timeline.

The ability to make Selfcest canon.

Wait no- That wasn’t it.

The ability to alter the plot to his own whims.

John’s zapping doesn’t follow the rules of Paradox Space. It allows him to change the timeline as he wishes and it still be the Alpha. Not only that, but he can also warp out of the story itself, sending people and things to the background of the website.

It’s when Vriska starts to try and find this Juju that everything about the narrative begins to shift gears. John now can change the plot. Which means he is not adhering to the rules that bound them all anymore. He can go back, bring people who were dead back to life, save his friends, and aid them get a better ending.

And in this new timeline he’s changed? Everyone seems a bit different. They have gone through different things, and are as confused as anyone else about what is going on. This is the moment where these characters stop being characters.

This isn’t a story about Four Kids playing a Game, getting involved in Shenanigans and trying to live a happy ever after as villains try to plot on destroying them and reality. Homestuck is the tale of the characters from a webcomic, becoming self-aware, and escaping the grasp of the author and the narrative.

I don’t know if this is what Hussie intended, and if it is, at what point he planned to start leading the story this way. I might just be crazy and be reading too much into this? But as I see it? It closes every single loophole in this story.

Doomed Timelines are meant to be nothing. They are meant to fade, and not be relevant anymore. But the ghosts are having none of this. They WANT to be relevant in this story again. They create an army, and head off to defeat the biggest threat in the entire comic.

Caliborn knows reality itself isn’t as it seems, and tries to make his own story within it. He strives to become almighty, and then begins to destroy and rend reality itself so he can make way for his own rule.

Vriska knows she’s in a story, having interacted with the very Author and the command prompt! But she is not trying to change the story- All the opposite. Vriska follows the rules of the story, closes loopholes from what she has seen, but tries to be the one who causes everything. She wants to be in the spotlight of this tale. She creates Bec Noir just because she had seen it in her screen. And knowing this is a story, she goes off of her way to find methods to defeat each of these villains, at any cost. Because in a story, once she defeats these big, powerful foes, she’ll be a heroine, and everyone will regard her so highly, she’ll be over everyone else. Just like she wants.

John? I don’t think he knows he’s in a story. But he has the power to alter it. And after he begins to mess with the timeline, the rules of Paradox Space begin to shatter around him and his friends. Time loops, Rules, Plot, why would they care about how a story goes, if it’s not a story, it’s their lives. They just want to be happy and get away from this cycle of destruction and death.

I’d even go as far as to say God Tier Calliope knows this. If her Land and her Earth were anything like Caliborn’s, she might also been in contact with the command prompt. Perhaps the fact her entire mission was a self-sacrifice to collapse the Green Sun represented how she, too, saw Paradox Space as what it was- A construct that kept these characters trapped as that. Characters. And the only way to escape its grasp was the erase its very existence, using Lord English’s destruction to tear a hole through the comic, and destroy it.

In this way, everything that happens towards the ending makes perfect sense. There are hundreds, thousands, who knows how many timelines, in which every plot hole will be closed. But we’re not following these. It would be easy to cause, say, the Condesce to wake up. Because of her immortality curse given by Lord English. Or the Draconian Dignitary get to the Frog Lily Pad. Something happens, interrupts the kids from entering to the new Session, and bam! Suddenly more plot! Their entrance to the Universe is blocked. Terezi worries about Vriska, so they begin to plot a way to help her defeat Lord English. The black hole in the Session that likely leads to Caliborn’s land becomes relevant, and they all have a trip to beat up Caliborn. Something happens to Calliope, her ring has ended up in Caliborn’s hands as well, he traps the kids, the Alphas beat him up, all loops are closed, we have a bittersweet, predictable ending. And this has happened. In many timelines before. Over, and over. Perhaps the one we’re following isn’t even the Alpha, for that very reason.

But it doesn’t matter. I talked about how the Jujus were a way to alter the plot, and let’s go back to this, and look at my theory about the Kids Souls being Trapped for all eternity in this Juju. The moment Caliborn uses this Juju, he kickstarts the entirety of the rules of Paradox Space. These kids we follow through the story, are trapped in a plot, with rules dictated by narrative that they HAVE to adhere too.

Then the ghosts decide that this is bullshit, and that they, even after death, want to still be relevant. Instigated by Vriska and Meenah, and aided by Aranea’s mind control, they manage to find a way they can alter the plot once again, a Juju. John touches this Juju, and suddenly he gains the power to alter this plot as well, and begins his and his friend’s journey to escape the clutches of Paradox Space and the comic itself.

John was trapped in the house all along. So of course, shoving his arm through it? He managed to grasp at the other side. He got a taste of what it was to be free. And he gained the power of changing the plot as a result.

Then, Vriska becomes alive again. She’s relevant, and bashes down on her ghost self. Ghost self that had at one point tried to make herself relevant, even though since she’s dead she shouldn’t be. This way, Vriska proves that, while she acknowledges the story as a story, and wants to be always present and in the middle, she never sees it as something she has to escape. She has no character development, because now, in this timeline that John has changed, she’s free to do whatever she wants, she’s her own person without a character arc, but doesn’t find the need to become said person. She doesn’t want to change, she wants to keep following the plot, and take down the big bad.

So Vriska takes the house Juju from her alternate self, goes against Lord English, beats up the Author of the comic itself as a last Fuck You, and then uses the Juju towards him. And this is when Alive Vriska makes her big mistake. By following this plot, this story, the Juju house crashes behind her…

She’s on Lord English’s side of the house. Because both of them know the comic is just that, a story. He knows about the narrative, and the author. So he kills the author, and becomes the big evil that must be defeated. Meanwhile, Vriska knows about the narrative, and the author, so she beats up the author and tries to become the heroine.

Caliborn and Vriska could very well strive to break free of Paradox Space in other ways, but instead they do what they do best- Be themselves, and fuck shit up in the process. And it’s this mentality that in the end, as the House Juju appears, tells us that both of them have been doomed. Doomed to be trapped in this Collapsing Paradox Space there’s no escape from.

Except there is an escape.

Because the door opens. It opens for the Kids and Trolls on the lily pad. And it opens for the Ghost Army and everyone else in the Bubbles. These are people that have been living aside from the story for a long time. The ones that are alive in the Session have had John change everything and the events happening after make them question Paradox Space itself. And the dead ones or the ones just stuck in the Furthest Ring? They fear being forgotten. They fear being erased by the collapsing Paradox Space, and had faced Lord English to try and become relevant once more.

Of course Condy’s curse didn’t wake her up. Of course DD didn’t appear. The moment the Juju appears, the story is done. There is no more plot. Because it’s not a story. The ones wanting to follow the plot are now seeing it crumble, seeing everything end. And the ones that wanted to become relevant against Paradox Space- Why would they need to even follow the rules? They are trying to escape them.

The Plot Holes are part of the plot in itself. John and everyone else didn’t need to fill it up. Because they are not part of the story anymore. We didn’t see their character arcs close. Because they are not characters anymore. They are not characters anymore. They don’t need to show us they have grown- Or maybe they haven’t even grown. They are always growing, learning. But now, they have escaped this evil Universe that trapped them and forced into cruel and crueler situations. They have escaped to a peaceful realm. They don’t need to keep following the story. They are happy and free to live their lives however they want.

They are finally happy.

How to Steal: Good Writers Borrow

Originally posted by slytherin-bookworm-guy

Good writers borrow. Great writers steal. -T.S. Eliot *

This is great writing advice, but many people are wary about following it because they misunderstand what the terms “borrowing” and “stealing” mean in this context. 

I’m here to clarify. 

Borrowing is using something of someone else’s. Stealing is making something your own. 

This advice means two things:

1. Don’t be afraid of reusing elements from books you love.

I’ve spoken before about stealing in How to Steal: Know Your Tropes. When you see story elements** in a book you love, don’t think that they’re now off-limits to you forever. Just because you love The Great Gatsby and it’s set in 1920s New York doesn’t mean that you can now never write a story set in 1920s New York. Just because you love I Capture the Castle and it’s written as the protagonist’s journal, doesn’t mean you can never write a novel that takes the form of the protagonist’s journal. Just because Scooby-Doo… you get my point by now, don’t you? 

Take note of what you love in other stories.*** Remember those elements–the plot twists, character arcs, tropes, settings, etc.–and then use them to write a story full of things you love. 

2. Make the things you steal your own.

Borrowing, in this definition, would be writing about a 1920s bootlegger in love with the girl across the way, trying desperately to impress her with his wealth. You’re stealing from F. Scott Fitzgerald’s The Great Gatsby… and making it no less F. Scott Fitzgerald’s story. 

This example steals too much from one place. It’s too timid in it’s approach. it’s too afraid to take anything from the story, so it keeps everything the same. Anything that tries to be like Gatsby, but better is destined to fail. (Maybe a little like Gatsby himself. Just throw a bigger party, old sport! That’ll do the trick!) 

The key to stealing is stealing from multiple things at once until it looks like your very own thing. Stealing is writing a novel about a gang of mystery solving teenagers in 1920s New York, told in the form of a journal the group takes turns writing in. (Because we’re going to add a splash of Sisterhood of the Traveling Pants here.) 

Stealing is saying: these story elements are mine now and I’m going to use them the way I like, combined with my interests. And you know what? By stealing bits and pieces from all of the things you love, you’re creating something unique and new and wonderful

So go out there. And steal. Never borrow. 

*****

*This is commonly attributed to him at least. The internet tells me he definitely said something close to it. 

**Obviously, this doesn’t apply to the words themselves. Never steal somebody else’s words. Basically everything else is up for grabs, though. 

***You’re not limited to stealing from books. Steal from movies. From TV shows. From plays. From epic poetry. From that anecdote your neighbor told you last week. 

im still so mad tho im mad about rizzles about swan queen about bering and wells about so many non-canon wlw ships because even tho we are starting to see more queer representation we still dont get slow burn relationships we get a few episode arc and then they hook up we dont get castle and beckett or booth and bones we dont get two characters finding a deep love over time we never get this we just get instant girlfriends or long term queerbaiting and im fucking sick of it im not satisfied with most canon wlw couples because they dont often get epic falling-in-love stories and i want that romantic shit

Writing Character Arcs

Post suggested by @amethystvalkyrie.

Let’s get this out straight away: You cannot disregard character arcs. The way you can think of character arcs is that readers usually come for the plot but stay for the character because you can have a kick ass plot but if the characters don’t have depth and don’t grow or change throughout, then the readers can’t connect to the story. Readers need to care about the character to care about what they are going through and the best way to do this is through their arc. Now, though attention to character is always important, certain genres demand more than others just like certain genres demand more plot than others. For example, literary, contemporary YA, and romance put more emphasis of character than more plot-driven genres like thriller, adventure, fantasy and sci fi. In any case, character arc enhances the story but it can be tricky to understand how create this arc and how to use it to better the story, so here are some tips:

  • Really, think of it as a curve. Okay, so maybe not a nice smooth curve, more like one with a bunch of bumps and squiggles in it. Also, the direction of this curve depends on who you want your character to become. Usually, a protagonist will arc up, starting at point where they have some personal obstacles to overcome, whether this is just a few things or a major attitude adjustment. You can also have characters that arc down and progressively get worse, like a villain or a tragic hero. The point is that as the time goes on, your characters should move on the Y axis (sorry for the math). You can actually plot it out if it helps you understand the rises and falls of your character’s arc.
  • Find what each character really needs to change. What is holding them back from achieving their goal? Why is it so important that they change? What would happen or who would they be if they don’t change? Alternatively, what can go wrong if they change or change for the worse? Remember that not every character arc is a positive one and sometimes readers need to see the characters fall to understand what is at stake and cheer for them more when they get back up.
  • Don’t make it sudden or pointless. Like anything else in your story you want to make the character’s advancement (or deterioration) have a cause and effect relationship. Something that happens in the story causes the character to have to change or at least consider how their actions are impacting others and their own life. A drunk who gets into a car accident and nearly kills their kid. A hero whose selfishness nearly causes the destruction of a village. Typically, the biggest shifts happen near the climax where the stakes are highest and the character has to make the biggest decisions.
  • Don’t make the character passive. Passive characters, in particular passive protagonists are unbearable. These are the ones that have the plot happen to them rather than contributing to the direction and outcome of the events. A character needs to take charge of their own destiny even if it’s a story where destiny is literally coming after them. Like I said before, some genres have more room for this than others. A high-stakes thriller that’s more plot driven has moments where the characters have to struggle to keep up with the events happening to them, but they should still be making the major decisions that ultimately lead to the conclusion. When the characters aren’t being decisive they can’t grow or change and their personal story stays flat and boring.

Honestly, it vexes me when I consistently see people saying that they don’t want to see redemption arcs.

And to clarify because I don’t want to beat around the bush, I do mean Kylo Ren in particular—though this could be generalized for other characters, too, I guess?

Kylo falls under the role of an antagonist. He has done horrible things: he is the Jedi Killer, he ordered the slaughter of those people at the start of the film, tortured Poe for information, fetched information from Rey’s mind and killed his own father. These are actions that firmly establish him as Not Good. He wouldn’t be an antagonist if he didn’t do bad things, would he?

But context is very important, and the finer emotional nuances in scenes such as Han’s death need to be evaluated less simplistically. In multiple source materials, it is canonically established that Kylo Ren is not pure evil. He struggles with the actions he believes he must take. Adam Driver has described Kylo Ren as someone who (while not verbatim, the intent of words is the same) “feels what he’s doing is right, and feels justified in his actions because of that.” If you want the full bit of what he said, just for clarity, here:

Well, I don’t know. I certainly didn’t think of him that way in playing him, that he is doing anything villainous. It’s more if he thinks what he is doing is right, and being justified by it. And then trying to tell the story of why – making it a person as much as possible.

“Wait!” You might say. “He thinks the fucked up shit he’s doing is right? How is that at all supposed to make me want this guy to have a redemption arc?”

This is where we get into the finer details and lore, my friend. While the matter of Ben Solo’s grooming by Snoke is an entire other issue the fandom is up in arms about, the fact that he was targeted in the womb is undeniable. There are multiple written scenes in the Aftermath novel that lead to this conclusion:

The dark, now lit with stars. One by one, like eyes opening. Comforting at first, then sinister as she worries. Who is out there, who is watching us? Hands reach for her, hands of shadow, lifting her up, reaching for her throat, her wrists, her stomach -

Inside, the child kicks. She feels her baby turning inside, right-side, up and down, struggling to find his bearings, trying so hard to find his way free of her. It’s not time, she thinks. Just a little longer.


He is less a human shaped thing and more a pulsing, living band of light. Light that sometimes dims, that sometimes is thrust with a vein of darkness. She tells herself that it’s normal - Luke said to her, Leia, we all have that. He explained that the brighter the light, the darker the shadow.

The baby turns inside her again, troubled by something she cannot feel and cannot yet understand.

As well as this moment from the novelization of TFA:

Leia bit her lower lip, refusing to concede. “No. It was Snoke.

Han drew back slightly. “Snoke?”

She nodded. “He knew our child would be strong with the Force. That he was born with equal potential for good or evil.” “You knew this from the beginning? Why didn’t you tell me?”

She sighed. “Many reasons. I was hoping that I was wrong, that it wasn’t true. I hoped I could sway him, turn him away from the dark side, without having to involve you.” A small smile appeared.  

“You had—you have—wonderful qualities, Han, but patience and understanding were never among them. I was afraid that your reactions would only drive him farther to the dark side. I thought I could shield him from Snoke’s influence and you from what was happening.” Her voice dropped. “It’s clear now that I was wrong. Whether your involvement would have made a difference, we’ll never know.”

He had trouble believing what he was hearing. “So Snoke was watching our son.”

Always,” she told him. “From the shadows, in the beginning, even before I realized what was happening, he was manipulating everything, pulling our son toward the dark side.

And then, of course, are these additions from JJ:

It’s more than just having a ‘bad seed’ as a kid. Snoke had targeted this kid and knew that this kid was going to be incredibly powerful in The Force and wanted him as an ally.

So this mother and father had a target as a son, someone who’s watching their boy, and these parents aren’t there enough to guide him.

Kylo Ren is a villain, but he’s also a victim and this plays—no matter what people might want to think—a very integral role in his character progression. Snoke has been an influence on Ben Solo’s life for almost as long as he’s existed. There has likely never been a Ben Solo that existed without that outside influence. According to the timeline we’ve been able to establish about Kylo, he defected when he was in his 20s—meaning there is a part of him that always resisted the seduction of the dark side, but eventually gave in. 

But why did he give in? What was the extent of this manipulation on Snoke’s behalf that could cause a golden child from some of our favorite heroes to go so wrong? 

The thing is, we can’t be sure. We only know that Ben was kept from the truth about his lineage and when that knowledge came forward, he felt betrayed. Worse, it is likely that the combination of Snoke’s influence and the respective actions/inactions of his parents (no matter how well meaning) all served to push him off that edge. 

My two cents? Kylo Ren has the illusion that what he’s doing is right because what he used to believe in—his parents, the Jedi, the light—were proven to be ‘wrong’ when he found out the truth. This all-knowing force that had guided him all his life had been right instead. 

“The supreme leader is wise.”

I believe that in the end, the rhetoric of the dark side and Snoke became the only thing left to Ben Solo that made sense anymore. So he did what Snoke told him was right, because he’d been right about everything else. He follows his dark path almost religiously because it’s all that’s left to him now.  

When Han talks to Kylo Ren on  that bridge, he isn’t talking to the Jedi Killer—he is talking to his son. He is talking to his boy who has not heard his own name in god knows how long (because Ben Solo is dead) and he is getting through to him. When Han Solo asks Kylo Ren to come back home, Kylo Ren does not laugh in his face. He doesn’t proclaim his father a fool. He doesn’t praise the dark side.

He says, with tears in his eyes, “It’s too late.”

In my opinion, it’s practically an admittance that this is not what he wanted. He does not want to be on that bridge, preparing to do what he’s going to do. I think he wants to go back home, but—going back to what I said earlier about the dark being all he has left—he believes that there’s nothing left, though Han is offering him family again. Because if his father is right, then what has he done? What has he done all this time? If Han is right, he has made so many unforgivable mistakes, and who could live with that? If what he’s done is not right, then what does that make him? 

Anyone would have a hard time swallowing that. It has to be right, because if it’s wrong, the alternative is unthinkable. 

JJ has another memorable quotation that I can (and will) reference back to in order to support this:

People have asked me if I think that Kylo Ren was just playing with him the whole time, if he meant to kill him from the beginning. And the truth is, I think Kylo Ren, in this moment, is actually being convinced to walk away from this. Snoke is, as Han says, using him, and I think that somewhere Ben knows this. But I think that he can’t accept it. Deep down, he has gone too far.

Despite anything Kylo Ren has said, Ben Solo is still very much alive. The action of killing Han Solo was an act from Snoke meant to quiet that voice completely. It’s not weakness in his apprentice that Snoke fears: it’s his apprentice thinking for himself and having Ben Solo’s power used against him. He played the long game. Every investment he made into the birth of Kylo Ren was to ensure he had this quivering mass of rage and anguish fighting on his behalf. He does not want Kylo Ren to be at peace with the pull inside of him the way Kylo Ren thinks killing his father will achieve.

He wants Kylo Ren to suffer. He wants to Kylo Ren to sabotage himself until there truly is no way back.

At the end of the day, it’s important for people to realize this: redemption arcs are not about what a character deserves. It never will be about deserving. Han Solo deserves justice? Yes. Poe and Rey deserve justice? Yes. Finn deserves justice? Yes. Does Kylo Ren deserve to be punished for what he’s done? Of course. Redemption arcs aren’t about justice either, however. It isn’t about cleansing an antagonist of their sins or punishing them. 

It’s the antagonist realizing the horror of what they’ve done and deciding they need to do something to make things right. Whether that be a sacrifice or a lifetime’s worth of service in the name of a greater good, it doesn’t matter. It’s about repenting. 

This is about Kylo Ren realizing the light wasn’t a lie, that he doesn’t have to tear himself apart anymore. That he’s drawn to it for a reason. This is about reparations to a galaxy, an abuse victim realizing he is being abused. Gaining his independence for the first time in his life. Giving his father’s soul peace, and his mother one more piece of her shattered family back after everything she has lost.

That is a redemption arc. 

Outlining your novel scene by scene (Part 1)

Did you ever feel bored midway writing a scene? Or lukewarm? Do you feel like readers will jump full chunks of text?

Well, I used to feel that all the time.

I disliked outline with a passion. I thought it stole the magic away from creation. I thought it would trap my story in a box. Whenever I tried, I had no idea where to start, so I blamed outlining all over again. I would just write the first scene and allow my story to unfold itself. Although it is fun to let your story take the lead, it’s also chaotic.

I realized the importance of outlining on my third book. After months and months of hard work, my story turned out just… boring. Weak characters. A plot full of holes. No defined theme. Useless scenes. And a story that started with a goal, but changed so many times along the pages and accomplished almost nothing. Slow. Tedious. I was frustrated. I had to delete more than half to make it work. Even after rewriting, I wasn’t happy. That project was a major fail.

Originally posted by failworldblog

And failing was good, because, on my next project, I outlined. 

I listed all arcs and, within the arcs, all scenes. I was mad. I wanted control. I wanted power. And I only sat down to write when I knew exactly what was going to happen from start to finish. I never wrote something that fast and effortlessly in my life. It didn’t take away the magic of writing, it simply gave me a sense of direction.

Outline is a map. And when you have a map, you have a journey to make.

Originally posted by artymissk

If, like me, you are a bit lost, here’s how you can create the map for your next novel, or how to outline your book scene by scene. I’ll share with you three techniques, but will divide them into three posts. This is the part one. Or the Map Technique.

I advice you to grab pen and paper, and move away from the computer. Find a comfortable spot, maybe a coffee shop, or by your window. And let’s work!

Originally posted by sashabloodsoup

Before outlining, write down your storyline in one phrase. I’ll be using an example to help you understand this technique. So, my storyline is:

Masked twins fight against a violent dictatorship.

Now, let’s start.

In every journey, we need a departure point and an arrival point. This is essential for a map. And, if it’s essential for a map, it’s essential for our outline. So, create the start (departure) and the end (arrival) of your story. With my example, it goes:

  • Twins have their lives destroyed by the government (departure)
  • They destroy the government (arrival)

Amazing!! Our map is taking form. 

What else a journey must have? Milestones. Without milestones, we don’t know how far we are from the arrival. They are essential as well. But how can we put milestones in an outline? Easy. Between departure and arrival, you will list every important arc (or event, or key scene, or plot point) that must happen in order to take the plot from start to end. More or less like this:

  • Twins have their lives destroyed by the government (departure)
    • Their family is destroyed
    • They are taken in by their uncle
    • Uncle and twins plan their revenge
    • Twins find their mask
    • Twins perform small acts of justice
    • They gain the respect of the citizens
    • Government sees them as threat
    • Government tries to erase them
    • Twins perform huge acts of justice
    • They are almost killed 
    • Uncle is killed
    • They perform one last act of justice by killing the dictator
    • Citizens claim for democracy
    • Democracy is installed
    • The twins destroy their masks 
  • They destroy the government (arrival)

All milestones are placed, nothing too fancy, just a description of what we’ll be seeing along the journey. Good. 

From milestone to milestone, we have roads, or sequences of roads. Between arcs, write down sequences of scenes that must happen to move the plot forward. For example: 

  • Twins have their lives destroyed by the government (departure)
    • Their family is destroyed
      • Twins live with their father (who is an important journalist)
      • Father is abducted by the government
      • Social worker takes them to lonely uncle
    • They are taken in by their uncle
      • Twins and uncle can’t adjust to new life
      • They are all filled with grief
      • Uncle comes up with revenge plan
    • Uncle and twins plan their revenge
      • Twins trains while uncle perfects his plan
      • Twins and uncle adjust to new life
      • They become a family
    • Twins find their mask
      • Getting ready for their first step
    • Twins perform small acts of justice
      • They destroy factory that uses slave force
      • They kill politician who closed hospitals
      • They kill a famous torturer for the government party
      • They find their father’s file
      • Discover that father was tortured and killed
    • They gain the respect of the citizens

We are almost there… 

Because, in every mile of the road, we have landscapes. Scenes are landscapes. And we need hundreds of different landscapes along the journey, beautiful ones, strange ones, unexpected ones… we need scenes. To every sequence, create as many scenes as you need:

  • Twins have their lives destroyed by the government (departure)
    • Their family is destroyed
      • Twins live with their father (who is an important journalist)
        • Father receives a journalism award
        • Twins enjoy the party
        • It’s time to go
        • Father drives them home
      • Father is abducted by the government
        • In isolated street, the car is stoped
        • Two man attacks them and abducts their father
        • One of the twins receive a scar on their face
        • Twins are left alone in deserted street
      • Social worker takes them to lonely uncle
        • Social worker takes them from the hospital
        • Drives them to poor area
        • Leaves them with unknown uncle
    • They are taken in by their uncle
      • Twins and uncle can’t adjust to new life
        • Twins can’t eat
        • Twins won’t leave the house
        • Uncle tries to get information on what happened to his brother, but fails
        • It’s believed that their father died
      • They are all filled with grief
        • Uncle and twins have a sincere talk about father, they tell past stories, they laugh, they cry
        • For the first time, they have dinner together
      • Uncle comes up with revenge plan

You can almost see the story playing inside your head like a movie. That’s the magic of a scene by scene outline. :D

This last step is optional. But it’s a great exercise to trim the rough edges. Under each scene, catalog which character(s) you’ll need, what place(s) will be used, what does the scene accomplishes and ways it can unfold. Example:

  • Father receives a journalism award
    • Characters: Father, twins, father’s coworkers, VIPs
    • Place: Banquet hall 
    • Accomplishment: To show that father is a famous journalist that gives no chills for what the dictator says
    • Possibilities: 
      • Father is announced as the award winner
      • Speech against the dictator
      • Ends speech by showing his love for his son/daughter(s)
      • Twins are proud (and kind of embarrassed as well)
      • Applause, applause
      • Nice food
      • Beautiful dresses
      • It’s the twins birthday
      • Or it’s Christmas
      • Open hall with garden
      • Fireworks
      • Rich people

Takes time, but, now, you have the most detailed map a traveller can possess. It’s easy to depart, just take a seat and enjoy the ride.

Originally posted by mr-nikolo

I hope it helps somehow. Next time I’ll show you a different technique. 

Romance, Representation And You

So the last post I reblogged got some interesting comments I want to touch on, namely people stating that they don’t dislike Romance because it’s fluffy and feel good, but because it is often sexist, misogynistic, ableist, heteronormative and woefully lacking in diversity, which yes, absolutely, yes. Those are entirely valid criticisms of the genre—indeed I find them to be valid of any genre, whether it’s sci-fi, fantasy, young adult or otherwise. There is a shocking lack of diversity in our fiction and media—and not because people don’t want it or aren’t trying to make it, but because publishing houses and media can’t see the co-relation between what their marketing teams are telling them, and the actual reality that of course straight white stories are selling the best, of course it is, because you won’t sell anything else, that’s why there’s no sales numbers for anything else.

I worked in a romance publishing house for a good few years, I also worked for their erotica team, and do you know, not once did I ever come across a manuscript with a disabled person? Not a single one. There was also never a manuscript that featured a character with mental illness who wasn’t the villain, or whose issues couldn’t be Fixed With Love™(*vomit*). 

The few times a story featured non white characters, it was usually “The Best Friend Who Gives Sassy Real Advice”, or so horrifically racist that our modus operandi was to nuke it from the office servers rather than try and deal with it because how do you politely tell an author, hey, you’re a fetishistic piece of shit please find God and change the entirety of your story so we can print it, (Answer: you don’t there is no polite way to tell someone they are a  fetishistic piece of shit and you never want their work to darken your inbox ever again.) when you can instead say “Sorry, not what we’re looking for a the moment” and retreat to the relative safety of the slushpile where maybe, just maybe, a hidden gem awaits excavation.

And our publishing house prided itself on diversity because we had an LGBT section, and oh boy let me tell you I was so excited when I got moved over onto that side…only to realize, there’s no w/w fiction because “it doesn’t sell well” and 90% of the m/m fiction is being written by women for women and they fired the one gay author cause his work wasn’t “what was selling” and every bisexual character I ever encountered was either Actually Gay/Actually Straight, or surprise! The Evil Greedy Homewrecker who needs to pick a side, booo hiiiiss, grab your pitchforks and burn the witch.

And I remember, I remember looking to my senior editor who was also my friend at the time, a poly bisexual, mentally ill woman and saying “what the fuck Rebecca” (yes, her name was actually Becky) and she looked at me over our skype call and said “You want to keep your job? Deal with it.”

Because you see, Marketing reigns supreme, and Marketing doesn’t give a shit about people like you and me. It doesn’t care if the neurodivergent person wants to see people like them in fiction, it doesn’t care that people of color want to be more than just the friend/villain, they don’t care that there is more to LGBTQIA+ than the L and specifically the G, it doesn’t care if disabled people want to be represented as more than someone ele’s story arc prop. They don’t care they, don’t care, and do you know why so many publishing houses look down on indie publishing and self published authors and try to call them hacks? Because we don’t give a fuck that they don’t care and we’re doing what we want anyway.

Oh sure you get the usual “but the work is so unpolished, no one has vetted it, it’s just bad, this is why we need publishers to stop the crap from rising to the top”—and yet Fifty Shades of Grey still gets a multi-billion dollar production budget and to the top of the best seller list—do you see, where I am going with this? They’re not interested in selling the best they are just interested in selling, and we are living in a society that has a system designed specifically to a quite literally straight and narrow demographic. So of course XYZ stories sell well, of course they do, because that is where the vast majority of marketing goes, to make sure you buy into it. And Romance…Romance is a lucrative industry to be in if you can get the weight of that campaign behind you…but if you can’t? Well, not only do you have to compete with lack of funding and resources, but also the pervasive lie that because you’re not affiliated directly with X Publishing House or Y Agency, you are not good enough, and no one will want to read your story.

And that’s a bunch of baloney. It’s so much baloney you can slap it between two slices of bread and cover it in mustard because the whole thing is a ham.

Do you know what I would have loved growing up? (And still would) Stories about girls who liked people regardless of gender—and who wasn’t conflicted over it because people are people and gender is fluid and irrelevant to love. Stories about people with mental health issues, where the person is still loved and shown as functional, with their mental health issues, not despite. Stories about disabled and ill people who have fulfilling lives whose arc doesn’t revolve around being brave for simply existing or how much of a saint their families/loved ones are for putting up with them. And do you know what I get instead, even now as an adult who has worked in the industry that sells these stories? I get things like Fifty Shades of Domestic Abuse, and train wrecks like You Before Me where the death of the disabled person is seen as a romantic gesture of selflessness that sets the love interest free to fully live her life. HOW FUCKING FUCKED UP IS THAT. Oh you can argue with me all you want that wasn’t  Moyes intent when she was writing it, but it damn well was the end result.

Yes, Romance is lacking, and yes it needs revamped, it needs more cultural diversity, it needs more inclusion, it needs so many things—but it also needs for people to not want to not write for it because it’s “fluffy” and cheap, like somehow they are selling their souls away. 

I’ve got friends who have written amazing, diverse stories told from their point of view…but they won’t ever get them published because as soon as you mention self publishing or the Romance industry they turn their noses up. And they’re shooting themselves in the foot in doing so, because there ain’t no way a story about XYZ is going to make it in a sci-fi house, no matter who much tech you add in. On the flipside of that, I’ve also got a friend who has written about her experiences as a Black queer disabled woman and it’s filled with relationships and great life stuff and so funny…but she can’t get it published anywhere because she’s been explicitly made to feel like she doesn’t belong in the genre because her stories are too complex, they’re too different they’re too comedic…too…too…too (the list goes on). And that’s awful because Romance is a genre that is primarily about people and if you as a Romance house are telling me you can’t sell a story about people, boy are we well and truly fucked.

The biggest criticism of the Romance genre shouldn’t be that it’s too damn happy and therefore unrealistic and nothing but fluff. What’s unrealistic is the complete lack of diversity and inclusion in the genre that makes it so alienating that a huge part of our society immediately feels like they don’t belong. 

And that’s a bigger problem than fluff.

So great, yes fine, Romance isn’t for you, you can tell me all the time that you don’t like Romance and I will cheerfully talk to you about literally anything else. But don’t ever tell me you don’t like Romance because it’s simple and fluffy when there’s a whole wealth of actual problematic shit to dislike it for.

And to you, yes you, I’m talking to you. You with the idea in the back of your head and the worry that you’ll never be a Serious Author because all you want to write about is romance and people and angst and fluff and also thinking no one wants to read stories about people like you: take that idea and run with with it, learn from your experiences and keep doing it some more and maybe one day we’ll have the publishing industry we deserve that will acknowledge you. But until then: Rebel and Do It Anyway.

"But my Plot isn’t UNIQUE or BIG enough!”

One thing that I worry about is that my plot isn’t good enough. I know lots of other writers who have had this issue in the past as well, and it’s all about having confidence in yourself and your ability to tell a tale. 

The plot doesn’t have to be groundbreaking, just think of how many people get fed up of Shyamalan twist-endings. They’re clever sometimes, yes, but they’re also not what everyone ever is looking for, and when they are forced into a piece of work it is painfully obvious to anyone who really values what you’ve written. 

What matters is the telling of the story. Your plot can be exceptionally simple, and you might write one of the most compelling books of our era. 

I found one thing that helped was to look at other works, and try and break them down into their very, very simplistic terms - the bare bones, the things the author would have decided up front perhaps. The things that… if told without the wonder of the story, might have been boring. 

Like A Song of Ice and Fire, for example, which tells the stories of Political struggle against a backdrop of Ice creatures who can raise the dead and force them to attack you. It’s basically a Socio-Political zombie apocalypse, with dragons. That could have gone either way; as it was, it went amazingly. Because Martin is a master of making every character a person, and building such a rich, colourful world that we believe it. 

So, what I’ve done is looked at a very popular work that spans multiple books. Harry Potter is widely known, so this should be useful to as many people as possible. It is also praised as one of the most in depth and atmospheric works for children, young people, adults, or just about anyone, having been translated, adapted and studied over and over. 


                           HARRY POTTER BREAKDOWN

Bread and Butter

So, when I asked Google what the heck the plot of Harry Potter was, I got this;

This is what I’m going to call the BREAD AND BUTTER of the story. It’s what happens in the day-to-day of the story. It’s perhaps the introduction J. K. would have given when first sending in her manuscript. It’s also a hugely unoriginal idea. 

The concept of a young Witch or Wizard attending a magical school where they can learn their abilities has been done before, a lot. It is basically the prmise of books like EarthSea and the Worst Witch. 

So next time you think your premise is overdone or uninspired, remember that it doesn’t matter. It’s not the premise that counts, it’s what you do with it. What Rowling did with it was create an in-depth world, full of structures and rules, populated by characters we all loved, hated, felt sorry for or routed for. She also made sure to include a way for us to learn more about the world, so she made her protagonist just as unaware of the wonder and horror as all of us. 

Tea

In this case, tea is gonna’ be the conflict of the story. The main arc. Because going to a Wizard School is freaking awesome and everything, but this story needs risk. Our characters need to be in danger, and they need something to overcome. Often writers get stuck here. They have a wonderful setting and they really want to write about their character doing this or that, but what’s the main goal? What is there to overcome? 

Very simply, Rowling’s villain is a man who wishes to purify the progression of magic by weeding out those who’s blood he see’s as tainted. He is a Hitler-figure, who himself should be ‘tainted’ in his own view. That’s the villain’s GOAL. It’s clear, and simple. 

If you think your villains goal is too simple, just look at Voldemort’s goal. What makes it more complex are the many twists and turns he and Harry both have to adapt too. His many failures, as well. 

Voldemort fits into many tropes, including the bad guy ‘selling his soul’ to achieve a vain goal, the bad guy murdering the heroes’ parents, the ‘more like you than you think’ trope, where a Villain and a hero are quite similar. I especailly like that last one, because J. K. played with it. Yes, she included it, and yes she gave a magical reason as to why. 

That just shows that unique elements can be added on to overdone ideas, to make them wonderful. 

Jam and Cream

This is where Rowling turns her simple ideas into something beautiful. Whether an idea is original or not, it will not matter if the depth is not there. Jam and Cream stands for all the little things

The fact one of the most hated antagonists was only a prime player in one book but left such an impression, the fact Hermione was disliked by the main characters at first, the fact Neville was the cowardly laughing stock of the group for years. Let’s see… The fact Sybil was right about almost all of her predictions and no one believed her, thus linking her with the Mythological figure Cassandra. 

The use of diversion and tension in The Prisoner of Azkaban, the fact that Harry’s own father was rather arrogant and mean at times, yet still a good person. The moral ambiguity of characters like Dumbledore or Snape. 

And…

That isn’t even naming the things the books got wrong. Because every author makes mistakes. Yes! You’re allowed too! J. K. has Dumbledore play the ‘I’m going to withhold information from you for the sake of the plot,’ card. We are also supposed to believe Harry forgave everything Snape ever did and named his son after him because he rather fancied his mother. Many issues are left unaddressed, such as the disinterest/damn right rudeness towards Hagrid in the final years, or the silly quest over the fake Sword. 

But in the end, if the story is told masterfully, no one is going to care. 

Basically, what I’m trying to say is, if you plot is overdone, don’t worry about it. If your world feels familiar, do more to make it your own. If your villain feels like a trope, give them more twists and turns, and maybe a reason for the trope that fits your world alone. If your characters feel stale, give them more scenes that address their personality. 

You’re doing fine, and your manuscript is totally fine. If you believe in it, there’s gonna’ be at least a hundred more people who would too. 

'Star Trek: Discovery' to ditch a long frustrating Trek rule

Star Trek: Discovery is shedding a creative restriction that’s long frustrated top writers on previous shows in the franchise.

Showrunners Aaron Harberts and Gretchen J. Berg — working from a creative roadmap laid out by executive producer Bryan Fuller — are delivering a Trek saga that gets rid of one the franchise’s decades-old limitations in an effort to evolve the series.

As part of Trek creator Gene Roddenberry’s utopian vision of the future (and one that Trek franchise executive producer Rick Berman carried on after Roddenberry’s death in 1991), writers on Trek shows were urged to avoid having Starfleet crew members in significant conflict with one another (unless a crew member is, say, possessed by an alien force), or from being shown in any seriously negative way.

This guideline wasn’t strictly followed across all 700 previous franchise episodes, of course (there are especially some notable exceptions in The Original Series). But in an aspirational effort to make the future more idyllic, Starfleet crew members typically weren’t supposed to demonstrate baser human flaws. For writers on Trek shows, the restriction has been a point of behind-the-scenes contention (one TNG and Voyager writer, Michael Piller, famously dubbed it “Roddenberry’s Box”). Drama is conflict, after all, and if all the conflict stems from non-Starfleet members on a show whose regular cast consists almost entirely of Starfleet officers, it hugely limits the types of stories that can be told.

So for the CBS All Access series coming Sept. 24, that restriction has been lifted and the writers are allowed to tell types of stories that were discouraged for decades.

“We’re trying to do stories that are complicated, with characters with strong points of view and strong passions,” Harberts said. “People have to make mistakes — mistakes are still going to be made in the future. We’re still going to argue in the future.”

“The rules of Starfleet remain the same,” Berg added. “But while we’re human or alien in various ways, none of us are perfect.”

The handling of these inner-Starfleet conflicts will still draw inspiration from Roddenberry’s ideals, however. “The thing we’re taking from Roddenberry is how we solve those conflicts,” Harberts said. “So we do have our characters in conflict, we do have them struggling with each other, but it’s about how they find a solution and work through their problems.”

Another major change is the new series is heavily serialized, unlike all the previous iterations which mostly consisted of close-ended episodes (with occasional story arcs that were two or three episodes long, plus Deep Space Nine‘s more ambitious Dominion Wars arc, among other examples). Serialization likewise makes it very difficult to keep all conflict from external sources because Discovery isn’t telling a new destination-based adventure each week. When you create dramatic storylines among the crew that spans an entire season or more, there should be some real friction and not just have the crew sitting around cheerfully playing tri-dimensional chess whenever they’re not under direct attack.

There’s also the fact the last Trek series (Star Trek: Enterprise) went off the air 12 years ago and the TV drama storytelling has evolved to be more realistic since then — and so has sci-fi. A former Trek writer, Ron Moore (who, like Piller, was outspoken about Trek‘s limitations), conceived of his acclaimed 2004 Battlestar Galactica reboot as a way of telling the types of morally murky stories that Deep Space Nine and Voyager wouldn’t allow. Moore, Piller and Discovery‘s Fuller all worked on late 1990s Trek shows, collectively trying to push the format’s creative envelope in bold new ways. Mind you, Discovery isn’t nearly as dark as BSG — it’s very much Star Trek and Starfleet officers have still evolved in all respects from where we are now. As always, they’re admirable people you wish you knew in real life. But the show’s producers will have the freedom to depict a wider and more realistic bandwidth of human (and alien) drama.

Previous: First look at a groovy new transporter room

Previous: Discovery star Sonequa Martin-Green torpedos racist trolls

Previous: First look at Jason Isaacs as Discovery’s Captain Lorca.

Previous: Star Trek: Discovery star Sonequa Martin-Green breaks her silence on her mysterious character.

Previous: Star Trek: Discovery producers explain the show’s delays.

Previous: Star Trek: Discovery trailer and premiere date.

On Monday, CBS announced Star Trek: Discovery will debut Sunday, Sept. 24 (first on CBS, then shifting to CBS All Access streaming service). EW has more to come, follow @jameshibberd for the latest.

anonymous asked:

Heeey. Sorry if I disturb you by something or anything but could you maybe list some good shows? (It's not a must that LGBT couples are included) thanks a lot ❤️❤️💫

Hi, Anon! 

You’re not disturbing!

So I’m the type of person that watches a pretty random variety of shows so I’m not sure what your taste leans toward exactly. 

If you have any suggestions, make a comment or drop me a message with the show and why you like it! And if you want, make a suggestion on how to make this list better!

** Is for shows other people suggest to me. I’ll comment if I’ve heard of it or seen any of it. 

*I’ll try to put if it’s LGBT friendly. And also I want to put down if it’s diverse or not and a note if you suggest a show is diverse…I’m looking for either the main character that is a POC or more than 1-2 minor characters that show up often enough to make a difference to the plot. Don’t tell me a show is diverse if it’s 3 black characters are just window-dressing…👀

Let me see what I can remember and rec those and what I tried and didn’t like. 

  • -Shadowhunters: I love this trash show. It’s actually not all that great but it’s got some absolute gems of characters you end up watching it for anyway. I def recommend but S1 was watched with a ton of skip Clary/Jace scenes for me. This is LGBT friendly and diverse.  
  • -Riverdale: I tried man, I used to read Archie comics when I was younger but um, this show…I think it’s supposed to be ironically pretentious? It just falls flat for me tbh. It’s popular though so you can check a couple of episodes out to see if it’s your thing. There’s an openly gay character in this that should get more story than he does. Also, kind of LGBT baits too at times so not sure if I trust them completely. 
  • -The Expanse: My sci-fi pick. I love this show. It’s gorgeous, diverse, rich story, funny without trying too hard. I just get sucked into every character. It had one older married gay couple that was really minor characters but I don’t recall any current mains that are. But It’s an inclusive show so I don’t think it’s particularly averse to the idea. Based on books I haven’t read yet! 
  • -Veep: This is like a completely meant-to-be-offensive comedy show with the amazing Julia Louis-Dreyfus. While I wasn’t in love with the last 2 seasons, the first 4 are amazing. No clear cut character you root for in particular but it’s so close to politics you can’t help but laugh/cry. Watch it for the absolutely unapologetic legendary burns. Also, has a lesbian couple in it although it’s offensive comedy so prepare for that.
  • -Archer: Also another meant-to-be-offensive show that’s hilarious but so terrible and inappropriate. I don’t usually like that kind of comedy but I binge watched this when I was sick and got hooked. 
  • -Vikings: I love this show. If you like Game of Thrones, you’ll like this one only it’s got less nudity and more idgaf fight scenes. It’s got brilliant characters, beautiful battle scenes, really interesting storylines, and just good snarky humor. Watch it! Also, they’re not shy about same-sex couples even if they don’t explicitly say it. 
  • -Mr. Robot: Really good show, very different and…I actually don’t know how to describe it? The main has mental health issues. It’s a sociopolitical commentary type show. It’s about hacking and network security and corporation conglomerates in control of our everything and the fight against it. Also from @cherryrebel : mr robot has a shit ton of diversity in both race and lgbt, the lead is mixed race but the actor is egyptian, tyrell is bisexual, gideon is gay, angela, elliot and darlene are implied being lgbt+, i think i’m forgetting about someone but watch that show, it’s the shit 
  • -Legion: A superhero show that’s so incredibly NOT like the other superhero shows. You'll find yourself in a serious mind trip thinking you’re the one that’s crazy. But it’s really really good. Go watch. 
  • -Mozart in the Jungle: About a bunch of musicians and a crazy conductor you absolutely love. It’s really good. LGBT friendly! And diverse-ish.
  • -Luther: One of the best crime shows in my opinion. Idris Elba just does things and you will want to watch him do it. Anything he does is beautiful and brilliant. But the show actually IS brilliant and amazing and go watch!! 
  • -This is Us: one of those, where-the-hell-did-you-come-from?? shows. Really heartfelt stories that make you laugh, cry, and go aww a million times. 
  • -Killjoys: Another sci-fi show I love. It’s got diversity and great characters and great action and story. 
  • -True Detective: Crime detective show. It’s great, very gritty and serious but good stories and character-driven. 
  • -Humans: Sci-fi show about android robots that are part of normal life- they look human and are basically live in maids. Only five of these have consciousness. Really good UK show. Diverse AND LGBT friendly!
  • -Broadchurch: Another good UK crime show. Slow and gripping. @iamacolor mentioned a lesbian character in this one too. LGBT friendly.
  • -The Americans: Russian sleeper spies in America that lead normal lives, have American children, and are like totally Russians carrying out secret missions. 
  • -The Get Down: Great show that was recently canceled :( has about 1 season out. I’m not sure how to describe it and do proper justice. It’s lovely though with amazing characters. Also, LGBT friendly and clearly diverse!
  • -Stranger Things: Great show sci-fi mystery thriller type show. 
  • -Dear White People: Black college students from all kinds of backgrounds dropping truth bombs all around and being amazing. Also LGBT friendly. Go watch. It’s a balanced show with amazing characters. So both diverse AND LGBT friendly!
  • -Brooklyn Nine-Nine: an Amazing funny cop show that manages to be winsome, hilarious, endearing, quirky, diverse, balanced, and just amazing all around. V. LGBT friendly. 
  • -Fresh Off the Boat: Asian family comedy show that’s endearing and hilarious. (Also check out Jane the Virgin for crazy telenovela-esque antics that are hilarious and cute). 
  • -Orphan Black: Sci-fi show about clones. A really amazing show, LGBT friendly. Great story AMAZING characters…most of which is played by one woman. Diverse and LGBT friendly.
  • -Preacher: Great show based on the graphic novel…uhh not sure how to describe it but it’s good. Reth Negga is in it!! 
  • Also adding Sense8 for its LGBT and diversity. Good show but I’ve heard something about the directors/producers being racist? Not sure so I’m recommending with caution because the show itself esp s2 where the nonwhite characters got a better fleshed out plot is good. But since I don’t know what the producers/directors have done, I’m giving a heads up for someone else to fill me in.
  • Poldark: I just started this one 2 days ago. 2 episodes in I’m really enjoying it. It’s from PBS’s Masterpiece series. Aiden Turner as a Cornishman is delicious. So far I adore his wife and immensely enjoying yet another period show.  
  • Grantchester: Adding this to the list after I discovered it on my prime account. I’m only one season in and I love Sydney Chambers and his gruff buddy cop Geordie? This isn’t a show that is going to have you sitting on the edge of your seat. It’s totally a procedural type of show. But it’s characters are likeable, it’s story feels comfortable, and honestly, if it’s a shitty day for you and you just want something that’s easy? This is it. @iamacolor  :)

Keep reading

Fairy Tail Chapter 545 Review

Okay guys. Here it is. After 11 years the story of Fairy Tail finally comes to a close. So let’s dive into Chapter 545 “Irreplaceable Friends”

We open  at a big fancy party thrown in Lucy’s honor for her best selling book, “The Adventure of Iris”. Honestly… Good to know Lucy gets a successful career in her ending.

and we now get the cover page…

It’s a little crowded, and I think there has been better shots of all of Fairy Tail together, but nostalgia is really kicking in.

The next few pages is just shots of FT being FT.

So Lucy begins to narrate some things that have happened in the last year. First about her book and then…

Oh god. Not you. Yes, Anna gets to live in this time period, with no consequences and not even a meaningful conversation with Lucy. To top it off, she’s now a teacher. Yeah, seeing as how all of Anna’s “intellect“ just kept making things worse and worse, I don’t think those kids are in for a good academic future.

Seems like Levy is pregnant. Cool. Not that this isn’t bad, but after the whole Bradman thing, this was kinda obvious.

We then cut to other guilds. Like Lamia scale and we find out that Chelia…

Are you fucking kidding me? I guess this war really did have no lasting consequences for our heroes!

This is the last of Sabertooth. Which I swear is just a copied image from the Avatar arc when the “Tora Tora eating festival” was introduced.

I guess Ichiya is Blue Pegasus’s master now? Well he did survive a suicide trip pushing Acnologia into a portal, guess he earned this title.

Wow this arc has done well at stripping away Kagura’s dignity. From getting striped by Dimaria, to giving Jellal CPR shirtless, to being given a magic induced orgasm, and now she’s a model. Okay there’s nothing wrong with being a model, but this is Kagura. Stoic, Badass Swordswoman,  I didn’t see becoming a magazine model as a future for her character. She doesn’t even seem to like this! Actually wait! The caption says that Mermaid Heel’s girls all became models… Wow, way to treat the female only guild.

We cut to the party where…

Oh god, Gildarts no… Also Juvia, I know you spent time with Gray and developed the striping habbit, but you usually did it in combat… I don’t get why you’re doing it now.

Gray drags off Juvia and begins to lecture her on her scar…

So they’re canon… I think? Kinda… Sorta… No well explained… Hey wait! I just realized that this whole big plot point about how Gray will give Juvia an answer and keep her from being left hanging, doesn’t end in a straight answer, but a maybe?! AKA still left hanging! Dude, grow a spine and say it!

Wait… what’s this…

I love this scene! Mashima you glorious bastard~

We then cut to see that King Toma has abdicated, making Hisui queen. Yeah… Hisui… She totally earned it… What have you even done?Well she does make peace with Alvarez. Which is most likely going through a civil war to determine who is now the ruling body given the emperor and most of his top men are dead.

But Hisui also pardons Crime Sociere…

Y’know her telling them to live, would be a bit more powerful, if she interacted with Erza and not Lucy.

Yeah now the most controversial part of the chapter…

Erza and Jellal don’t get together. In fact, they don’t even talk. Y’know I did a brief post on my thoughts about this and I still stand by, Mashima is under no obligation to get them together, but he does at least owe them a conversation. At least. Because when you tease something like that, you really can’t leave open ended. If they aren’t going to get together you should at least give them a conversation that at least leads to them making the decision not to get together.

(Also Erza’s hair was that gorgeous without brushing it?!)

And Makarov can’t walk anymore… Oh god it must hard for him to make it through each day now, old, numerous heart attacks, lost the ability to walk. At this point just mercy kill him. Wait, he’ll probably live through that too.

Oh yeah and the other controversial scene…

Yup. Mavis and Zeref have been reincarnated and are now destined to fall in love again… Oh god… Why? You concluded their story! The whole journey of them as a couple had a great ending. Granted I felt it was weighed down by the Alvarez arc really dropping the ball with the whole relationship thing, before their conclusion. So this really feels like it ruins that big curse breaking moment, because they actually don’t escape their eternal cycle. Instead of being immortal they’re just reincarnated. Also one month is a short time for these reincarnations to be born and then make it to their teenage years

We get a montage shot of FT acting like FT and…

Wow… A ship with no canon interaction gets acanon ending. Mashima, you glorious bastard…

We cut to the next day in Lucy’s home, where… (For old time’s sake)

Natsu is in her living room. Appears she passed out after getting drunk, and brought her home.

And then this scene.

I know there are some upset that Natsu and Lucy didn’t get together, but this scene is really heartfelt. Regardless of the quality of every arc in question, I genuinely feel that these are two people who’ve been through thick and thin.

So they run off on another adventure… But not just on any adventure…

A 100 year quest.

So we close out on another montage showing off FT.

Umm looks like Fairies don’t have tails…

Anyway that is the conclusion, and after 11 long years the stories of Natsu, Lucy, Gray, Erza, Wendy, Happy, and Carla, come to an end, but the adventure of Fairy Tail lives on…

Post Chapter Follow Up: I’m going to start with the negatives only because I want to end on a positive note.

The biggest issue with this conclusion, is a lot of the individual ends feel iffy… Weather they don’t seem to fit the character like Kagura, or give a level of finality to their story like Jellal, or even acknowledge there has been a change to get us to this point like sabertooth. It really hurts because these are the last time we’ll see these characters and leaving them off with those conclusions is bitter sweet.

Let’s also talk about the controversial stuff. The biggest is the ambiguity. The “story” has to end without the story ending, thus it doesn’t go against a never ending adventure. There are things I think you can leave ambiguous, like Natsu and Lucy going off on an adventure, or what happens to all of the guilds as a whole. But there are some stuff that really you can’t do given the time spent on it. As I said, I am fine with Mashima not making pairs canon. Afterall, he isn’t under obligation to, just because the ships have large fanbases. That said he needs to at least give a straight answer. WIth all the time spent, you need to show us how you come to the end for these pairs and why that might not get together.

Another thing that really hurts is the Zeref and Mavis thing… Why? It’s not a bad scene, but it’s bad because it really ruins their already good conclusion. Doesn’t destroy it, but does make it a lot lesser.

So with all that said… Lets get to the positives,. First of all, I really do want to give Hiro Mashima for attempting something different for his conclusion than the typical shounen ending. I do think it is muddled a bit in execution, but this could’ve very well been just a repeat of Rave’s ending. I’m glad he ended it, his own way.

Another thing is the FT hijicks. I know a lot of the cast of FT didn’t do much this final arc, but it’s so nice to see them all get to show of their personalities one more time before the curtain draws to a close.

And finally, that moment with Natsu and Lucy. I know people are upset that the two are not together as lovers, but that doesn’t take away this really is two characters that share a genuine bond. Maybe not romantic, but it really feels like a finale for these two.

So this is the last time I’m going to do this for FT…

Final Verdict: 5/10

  • It’s too ambiguous
  • It does have some head scratching edings for characters
  • It has very sweet moments of characterization
  • Reminds of the jiy these characters brought me.

Before we go,This is it, this is the last review for a chapter of Fairy Tail I’m going to ever write. It’s been an honor and pleasure bringing you a review week to week. I wouldn’t be anything without this series, I could’ve never made my blog what it is without this series help, and all of your help dear readers. We had a lot of fun. Sure, at times it wasn’t always good, we had ups and we had downs, but that was what Fairy Tail was, a ride. And it’s a ride I don’t regret getting on. I hope it left everyone with some good memories. So till we see each other again, stay gold!