mainstream genre


I remember the day Meteora came out. I was in boarding school and I couldn’t wait for the next “Wal-Mart trip” so I could go get it. (We couldn’t have cars so you had to sign up to for trips to the movies or the mall or Wal-Mart and then pile into a big school bus and head out there on the weekend.)

Honestly all Linkin Park did was take Hybrid Theory and make it louder & denser, but that’s fine. It was a ready-made 30 minute fireball of straight up energy with the best hooks in nu-metal and the best sheen of studio production outside of teen pop. I still think it’s a pop masterpiece in the vein of other massive crowd pleasers lacking critical acclaim right up there with Christina Aguilera’s Stripped or the Spice Girls’ first album. Hybrid Theory really did for nu-metal what Bon Jovi’s Slippery When Wet did for hair bands in giving the genre mainstream legitimacy and actual hits.

Chester Bennington was one of the best vocalists in metal and this chunk of my youth feels sad today because I still think he had more to give.

I buried this point in a reblog of one of my other GotG posts, but I wanted to pull it out into its own post because I think it’s important.

I think this movie contains one of the most accurate and sympathetic depictions of the fannish way of thinking that I’ve ever seen in mainstream media. This is not a movie about fandom, but I think it is actually more sympathetic to, and understanding of, the way people in fandom think and behave than 99% of TV or movies’ attempts to depict more classically fandom-associated things like fan conventions, fanfic, or cosplay. 

These are movies about a guy who uses music and pop culture to process his emotions and provide a framework for thinking about the world, and while there are times when it’s played somewhat for laughs (e.g. trying to explain David Hasselhoff to Gamora), most of the time the movies are as sincere about it as Peter is. Even in the David Hasselhoff scene, Gamora doesn’t laugh; she might not fully understand, but she recognizes how important that fantasy was to Peter and just tells him that she thinks it’s sweet – I mean, if you think about it, what happened here is that the main protagonist in an action movie described a self-insert fantasy to a “cool” friend and got a sympathetic and understanding response. When does that EVER happen?

(In a reblog addition to the original version of this post, katiekeysburg contributed a link to an article with James Gunn that suggests there’s a certain amount of autobiography in Peter’s use of fantasy as a way of coping with reality, so a lot of this is intentional.)

And it’s also a movie in which the action-hero main character carries around a completely nonfunctional (in practical terms) comfort object with him, and the other characters are totally supportive of that. (The practically-nonfunctional part is important, I think, because I can think of other movies in which the protagonist has something like a weapon given to them by a dead loved one, but I can’t think of anything else I’ve ever seen in mainstream genre fiction in which the protagonist carries an object which is only used to comfort them and calm them down, and is actively shown being used that way on a regular basis.) In the first movie, Peter’s friends don’t really get it yet, but even there, the only actual semi-derogatory reference to it that I can remember is Drax’s “You’re an imbecile” when he realizes Peter went back to the Kyln in the middle of a firefight to retrieve the Walkman, and given how little interaction they’ve had so far and the fact that everyone’s lives were in jeopardy because of waiting for him, that’s a reasonable reaction under the circumstances.

But no one ever makes fun of him for needing it, and I’m pretty sure that by the time we get around to the second movie, when they’ve started to recognize how important it is to him, his friends would be the ones going through hell and high water to get it back for him (as evidenced by the fact that Rocket apparently retrieved Yondu’s broken arrow from Ego’s planet while the planet was literally blowing up around him – I’m sure any of them would do the same in a heartbeat for Peter’s music player).

Even Yondu seems to have been supportive of it, because Peter’s confidence with the Walkman, and with playing his music out loud in general, suggests that Yondu never used it as a punishment – that is, he could easily have withheld it to control Peter (surely it must have been obvious that if he’d wanted to control and break the kid, taking away his music would’ve been the way to do that), but he doesn’t seem to have done that; Peter never behaves like he grew up under the threat of having his music taken away from him. In fact, we find out in the second movie that Yondu actually made copies of the music on Peter’s tape and kept it on the ship, presumably in case the original was lost.

In both movies, trying to take away Peter’s music/comfort object is shown as something that only really bad people do (like the Kyln prison guard, or Ego crushing his Walkman), and people show their love for him by giving him more music, or by letting him share his music with them, or just making sure that he has it.

I just. These movies, you guys. ❤ ❤ ❤

Hurt/Comfort is such an interesting thing. It’s basically an entire genre of fanfiction. I’d argue it satisfies a very basic, vital need–the same way that horror satisfies the basic need to be scared in a safe, controllable space. 

And yet it doesn’t really have an equivalent outside of fan culture. "Tearjerkers” can sometimes come close, they’re probably the closest thing to a mainstream hurt/comfort genre that there is. But those types of books and movies don’t usually focus on the “comfort” aspect in the same way, and don’t make use of tension and release.

I think every good hurt/comfort fic makes use of tension and release just as horror does, whether the writer is consciously aware of it or not. Though of course the tension and release in h/c comes from different sources than in horror. Instead of anticipating something frightening, you anticipate the intimacy and/or validation that comes from the “comfort” part you know is eventually coming. That’s what provides release of the tension built up during the “hurt” scenes.

I could write a goddamned essay about this it’s so fascinating. 

Suddenly, it feels like the grandmasters of the game are purposely pitting Camila and Lauren against each other. The two IT girls of 5h, and eventually, the two girls with the biggest potential to be successful soloists.

IKWYDLS was their way of knowing if Camila would make it. I have a feeling that if that collab flopped, their label would then try to test Lauren’s bankability. (If I’m not mistaken, BTM was recorded for a while before it was released)

But then IKWYDLS soared high, and the label saw that Camila could make it. And the rest is history.

Of course, if Camila becomes a solo act, the label also need another next big thing from their milking cow – errm, I mean 5h – so who’s better suited than the former initial it girl, LMJ, right?

When Bad Things came out, Lauren’s collab with Marian Hill was released soon after. And despite the huge advantage Camila had (radio-friendly genre, rigorous promos etc), it’s like it’s Lauren’s turn to test the waters, and see if she could compete with the rising solo star that is Camila. And she did. Even if Back to Me didn’t trend as much as BT, it was still a success considering it was barely promoted, and considering the genre wasn’t mainstream in the first place, it still made waves, bigger than most indie acts. They still saw the pull Lauren has when it comes to her fanbase.

And now, Camila has just released CITC/IHQ, and it’s perfect timing that Lauren’s collab with Halsey was released. And fans loved it. Magazines are praising Strangers. And we all know that some magazines are paid to hype up an artist or a song. And both CITC/IHQ and Strangers are being hyped af rn.

I know it’s Halsey’s song (and I’m not downplaying her pull with her own fans etc) but Lauren has as much impact in this even as just a feature, and it’s already obvious seeing those mags and articles praising “Lauren Jauregui from Fifth Harmony” etc etc.

Obviously, Camila would still be first priority, since the label already spent a chunk on her. But Lauren’s seemingly paving her sweet way, steadily and surely, so when the time the cow has been drained and milked for all its worth, Lauren would be ready.

This is not me playing along the “narrative” (a much-hackneyed word in this fandom) theories and all.

This is just my observation as a music fan and as a harmonizer.

I’m not complaining though. Camren slaying the world? I’m sold. 👏🏻👏🏻

anonymous asked:

Why do you hate harry all of the suden

I don’t hate him but I gave him the benefit of the doubt despite all the signs out there. I still have a soft spot for Larry && the canons. I’m not saying they’re not together or anything of that sort. But, here’s my experience with Harry && 1D. I honestly grew intrigued when I heard how much of a feminist H was. That’s what grabbed my attention because it’s not something you find in mainstream music. My background is far from mainstream music. I don’t listen to anything that’s playing on your local radio. I listen to oldies in all genres. I think they were the only relevant music I bothered with. 

Many of these singers (white privileged kids tbh) are out there claiming to be feminists (taylor) but it wasn’t the case with H. Or at least that’s how I felt. He showed support to the gay community. He was always gender-neutral. He spoke about empowerment. Mind you, this is what I heard from his mouth not from articles or hearsay. I started watching the freddieismyqueen videos && I fell in love with the person I watched.

I understood that he was closeted along with others in the band && my heart broke for them. So, I supported them as a bisexual supporting my fellow rainbow comrades. Yet, his solo campaign came out && that turned me off && I did a complete 180. Also, it didn’t go unnoticed how his image was manipulated to monosyllabic responses && the image of hipster Harry. I figured that was what his team was pushing. The whole “Basquiat is king,” posts too (mind you, I don’t like his work but I see the appeal). Nevertheless, after the tour sold out, the preordering && the milkshake Larry tweet, choosing #2 && #8 track for SNL etc…. then, Carolina happened && I thought, wait, Johnny Cash? The Elvis suit && I was like “oh no, another Bruno Mars” (bc Bruno tries to be a cheap copy of James Brown aesthetic), but then I read the lyrics to “Kiwi” && then I heard the song && the obnoxious coke snorting sound…. I cringed.

 I was so disappointed because I defended him. I was rooting for him. I was hoping he would just let his music speak && it did. He went that route, the cheap, lazy rock n’roll sex sells route && I’m not here for that. Then I tried reading the lyrics as I would do when doing a scansion of any poetry work && the metaphors or references again were not good. I know that he loves the attention, loves the rockstar lifestyle. I get it. But don’t bait me && then turn into a sleazy sex-monger. The jailbait reference reminded me of Aerosmith music videos w/ a young Liv Tyler && Alicia Silverstone, that rock n’ roll dirty Lolita shit.

This is a long response but I feel like I need to give my reasons. Sadly, I’m kind of like Mr. Darcy: my good opinion once lost, is lost forever. He played with both sides of the fence && that was what grossed me out. If he has to be in the closet, so be it. If that’s his choice, ok. If it’s not, that’s ok too. He doesn’t owe me anything but because he vocally made it his business to speak on my behalf && ran around with our beautiful lgbtq+ flag on his back, I have the right to feel isolated by his campaign. He doesn’t get to profit off an integral part of his fandom to turn around && shove the hetero “drugs sex && rock n’roll” image down my throat && expect me to take it.

 I understand that for the mainstream music genre market that he’s a part of, he’s a multi-million brand && he needs to do some Faustus Goethe shit to survive, && he can but I don’t need to agree with it. As a consumer && a music lover, I respect artists who don’t feel the need to sell their soul for millions. There are a lot of artists out there who truly stick to the work && don’t manipulate && I’ll go with them. 

Anonymous asked:

I’ve looked up examples and definitions of literary fiction, but I don’t get really what this is genre is. Could you perhaps explain what “literary fiction” is about, or what defines/creates something as literary fiction. Apologize for my english. thank you

There are many ways to define literary fiction and not everyone agrees on all of them. Perhaps the most important distinction is made by the publishing industry, where fiction is divided into literary fiction and commercial/mainstream fiction. Commercial/mainstream fiction is basically anything that fits into a genre–so novels that are sci-fi, western, romance, fantasy, etc. would be commercial/mainstream fiction, aka “genre fiction.” Literary fiction, in publishing, is anything that doesn’t fit into an obvious genre.

Some people try to define literary fiction by how “serious” it is. A novel that contains novelties like robots, spaceships, swashbuckling pirates, or sword fighting princes would be seen as “entertainment for the masses,” whereas novels dealing with aspects of the human condition would be seen as appealing to far more serious and worldly readers. This is, of course, an outdated and snobbish way of looking at things, but there are still people who defend this definition.

Another common definition is that literary fiction is character driven whereas genre fiction is plot driven. In other words, literary fiction (by this definition) is more about the characters than the plot, more concerned with characterization and character development, etc. And genre fiction (by this definition) is less concerned about characters and more concerned with action packed plots. This definition may have been accurate at some point but it’s not anymore. These days, genre fiction tends to be both character and plot driven, with as much emphasis on characters as plot. However, it is still true that literary fiction tends to be slower paced and less worried about happy, satisfying endings than genre fiction.

I hope that clarifies it a bit! :)

Have a writing question? I’d love to hear from you! Prohibited questions: howto portray/describe things (characters, emotions, situations), specialist knowledge questions (medical, military, mental health, etc.), asking for tropes/cliches or resources, triggering/controversial topics; broad, vague, or complicated questions. See master list & main site for more info!

The Moonlight Witch’s Top 10 anime of 2016: Part Three

3. Yuri!!! on Ice

Yuri on Ice was one of the anime I was most strongly anticipating prior to the fall season. This show is the pet project of Sayo Yamamoto, one of the most talented directors working in anime at the moment and whose previous work I have greatly enjoyed. Typically Yamamoto’s work is more adult-orientated and artistic in nature than most anime so while I was expecting to enjoy Yuri on ice I wasn’t really expecting it to be a success outside of niche communities. Surprisingly the anime community proved me wrong with Yuri on Ice becoming one of the top sellers of the year and arguably the year’s most loved show. And I’m glad for that because it’s hard to think of a show that deserved it more.

The strongest theme Yuri on Ice has is love. And it’s easy to see that that theme of love came directly from its creators. Love permeates every aspect of this production and if I was awarding prizes based purely on how much passion creators poured into their work Yuri on ice would undeniably take the top spot. Everything about this show is so lovingly crafted, the characters, the artwork and the thought poured into their storylines. There was so much love given to this work and so much effort as well. Even as the show’s production began to crumble the animators kept stubbornly animating ice skating scenes which are extremely difficult for animators to create, speaking to the level of caring and effort put into this production.

Nowhere is that love clearer than with Yuri on Ice’s characters. If I was to write a list featuring my favourite casts of the year this show would most definitely feature prominently. The shows protagonist Yuuri Katsuki particularly impressed me: insecure everyman protagonists are quite common but I don’t think I’ve ever met one as well written or relatable as this. Yuuri’s anxiety issues, in particular, are handled with surprising realism and grace, but they also aren’t the sole total of his character. Viktor Nikiforov also surprised me, initially coming across as a little one-dimensional until episode 10 expanded my understanding of him remarkably. And then, of course, there’s the angry kitten Yuri Plisetsky who undoubtedly won character of the year in my heart. But it’s not just the main trio that made this cast so notable: the show does an excellent job of endearing us to all the characters that appear and giving them their own personalities and motivations, to the point where I and many viewers were deeply conflicted over who to root for during the final competition!

And then, of course, there’s one of the most remarkable things about this show, the thing that undoubtedly attracted the most speculation and attention and one of the things that makes this show truly special: a canonically gay couple as one of the primary focuses in a mainstream genre show. Teasing same-sex couples in anime is nothing new of course but for a show to go and make such a couple undeniably canon is incredibly rare. And Yuri on Ice isn’t a niche show at all: it’s one of the most popular anime of the year and a show that gained attention even outside of the anime community. A show where two men are unambiguously in a relationship, in a world where homophobia canonically does not exist was one of the most popular and well-made shows of the year. It’s easy to see why this is so remarkable and how much it means to so many people.

There’s a lot I could write about Yuri on Ice, and honestly, some of that would be negative. A lot of this show could have been improved on, from animation to plot progression but really to me, it didn’t matter. There are very few things that have made me as emotional watching them as Yuri on Ice, to the point that I honestly don’t want to tear it apart or even mildly critique it. I loved this show. So many people loved this show. And it’s so easy to see why.

2. Natsume Yuujinchou Go

Natsume Yuujinchou Go was another show whose airing I was highly anticipating. In fact, it speaks greatly of the quality of the number one show on this list that this show did not take the top spot. Natsume Yuujinchou is a franchise that kind of swept me off my feet. While I’m not picky about shows I watch, gentle slice-of-life things don’t generally feature heavily in my favourite shows lists. Fortunately however Natsume is so much more than that.

Natsume Yuujinchou is first and foremost an intimate character drama. It may not look it at first and it may not be as obvious or dramatic a character-driven show as most others but the slow gentle character development Natsume Takashi goes through over the course of the show is at the heart of the series. Natsume Yuujinchou doesn’t have melodramatic speeches or moments to make this obvious but when you look at our main character over the course of the show it’s remarkable how much he has grown, changing from someone perpetually lonely to being surrounded by people he cares for.

Natsume starts the show incredibly isolated and alienated from both the worlds he finds himself in. As a human who can see Yokai, he finds himself constantly alone seeing things that no one else can see and often being called a liar or strange because of it. But as a human, he can never truly fit in the world of Yokai either. Slowly over the course of the series Natsume finds people he can confide in, people who don’t understand him but love him anyway and even develops close relationships with many Yokai. As this goes on Natsume evolves from someone lonely and closed off to someone who can share his life with others.

By the current, fifth season Natsume’s world has evolved drastically. By this stage, Natsume has been thoroughly drawn into the unusual world of exorcists, but despite the fact that in many ways these are people who see the world as he does Natsume finds he does not truly fit here either. Many of the exorcists Natsume encounters are incredibly bitter about how their experiences with yokai have isolated them from human society, but despite his troubles Natsume lacks that same bitterness. He has a strong sense of empathy for both humans and yokai and is uncomfortable with the hardline and sometimes cruel approach that exorcists often take with them. More than that Natsume is beginning to discover that the world of exorcism has some very strict rules and they don’t always gel with his own encounters with the world of Yokai.

But even as the tension filled situation between Natsume and the exorcists develops Natsume Yuujinchou never loses sight of its roots. This is a show fuelled by small moments and intimate interactions between people - not plot. One of the best episodes in Natsume Go takes us right back to the beginning, telling us the story of how Natsume came to live in his foster parents household through the perspective of his foster mother Fujiwara Touko. It’s a heartwrenching episode contrasting the person Natsume has become against the lonely neglected child he once was and reminding us how remarkable it is that Natsume has developed to become the kind, empathic person he is today. And it’s incredibly touching to see Natsume from the perspective of someone who is blind to the world of Yokai, seeing only the occasional oddness in his behaviour - but who loves him unconditionally even if they don’t fully understand him. It is in small moments like this that Natsume Yuujinchou truly shines.

Natsume Yuujinchou is an excellent series and one I would recommend everyone try at some point. I’m delighted to see this manga return to animation after a gap of more than four years and ecstatic to hear that it has been renewed for a sixth season. Try Natsume Yuujinchou out. Even if it doesn’t sound like your cup of tea it might end up surprising you.

1. Mob Psycho 100

And here it is, the final, and top show on the list, and I honestly could not think of a show more deserving than this one to award the top spot. Mob Psycho 100 was one of the most highly anticipated anime of the year, both by me and by the anime community at large. It drew attention largely for being animated by studio BONES who are well known for their incredible productions and for being written by ONE the mangaka behind the incredibly popular One Punch Man. I enjoyed One Punch Man quite a bit. It was a fun and well-made series and it ended the year as No. 6 on my 2015 top shows list. Therefore is says quite a lot about Mob Psycho 100 that for me it blew One Punch Man out of the water.

Mob Psycho 100 is a triumph of a show. Everything in it is top tier, animation, art direction, storytelling, it’s hard to think of a single thing this show could have done better. The animation for Mob Psycho is not simply just “good” - it’s done with top tier skill and artistry. Mob Psycho 100 is blessed with not one, but two of the most talented visual artists in the medium: Yuzuru Tachikawa who in addition to Mob Psycho directed my last years No. 3 show Death Parade and Yoshimichi Kameda one of the best current animators who among other things has worked on Fullmetal Alchemist Brotherhood and Evangelion 3.0. The talent shows. Mob Psycho 100 is not simply just well animated - it’s beautifully stylish faithfully depicting the original manga’s aesthetic, while updating it with beautiful artwork, to deliver a visual smorgasbord of talent.

However, all the beautiful animation in the world can’t save a show that is otherwise mediocre - fortunately, Mob Psycho 100 has so much more to offer than just animation. Its characters are some of the best written and most fully realised in anime. Shigeo “Mob” Kageyama is an incredibly sympathetic and appealing protagonist, but more than that he’s also a wonderfully deep character - a complex mix of many different traits from painful obliviousness to startling awareness and teenage awkwardness to repressed stoicism. It was wonderful to watch him struggle and grow as a person.

And the characters surrounding him are appealing as well. His “mentor” and endearing disaster of a human being Reigen Arataka has grown to be an immensely popular character for obvious reasons, none of the least of which is his surprisingly touching relationship with Mob. In addition, the relationship Mob has with his younger brother Ritsu proves to be surprisingly complex and kicks off most of the drama in the second half of the show. The side characters are appealing as well - the show ends by revisiting most of the minor characters that appeared throughout its run and I was surprised by how delighted I was to see most of them again. I’d particularly like to note Tome for making quite an impression on me despite not getting much screen time.

Mob Psycho’s themes are no less compelling. The story grapples with so many different thoughts and ideas, dealing with the mental health issues of a protagonist who has repressed his emotions with surprising realism, the complex mix of love and bitterness that can arise in relationships between siblings and the true nature of power and whether power actually matters. Probably the strongest theme in Mob Psycho 100 is the idea that having supernatural powers doesn’t make you special - or at least no more special than someone who has some other talent like intelligence or charisma. And it comes down strongly on the idea that perhaps the best trait a person can have is simply being kind to others

The true nature of power is analysed strongly through the character Reigen who is utterly powerless, and yet is one of the most significant characters in the show. Reigen commands attention from others through sheer (often feigned) confidence - and in this world, the illusion of power is a kind of power itself. Mob himself also exemplifies this by being someone who feels he has nothing but psychic powers, which despite being phenomenal have brought him little but trouble and have only fuelled his desire to fit into regular society. Another recurring trend in this show is villains who feel that their psychic abilities set them apart and make them special - only to crumble when confronted with someone more powerful than them, and reveal how pathetic they are underneath their abilities. Mob Psycho’s themes stand in sharp contrast to many other shows that prop up their protagonists for being “special” or “different” - this show is far more interested in praising mundane things, like simply being kind to other people.

Mob Psycho 100 is a show I came into with high expectations and which fully blew all of them away. It’s an incredibly stunning piece of work with awe-inspiring animation, fascinating and endearing characters and a plethora of thematic material. It was easily my favourite show of the year despite facing incredibly good competition and I am more than happy to award it my top spot for 2016.

(part one) (part two)

Top 10 Underrated Kpop Songs 2016 [Mainstream + Indie]

Originally posted by j1nwoo

2016 has come and gone before we knew it.  

Continuing with the K-Pop Timeout Tradition (see 2015 ver) of listing the Top 10 Most Underrated K-Pop Songs because all the other sites are just bothered with the Top 10 that pretty much everyone will have heard of/have fan wars over, below are our top 10 picks of songs that did not rank high but deserves your attention! This year we have added a section for underrated non-idol tracks too, in-line with the rise of non-mainstream genres in K-Pop in 2016.

Some of the artists have escaped the list in recent years to stardom (hello MAMAMOO, Zion.T & DEAN!) so hopefully it happens again!

This is in alphabetic order NOT order of awesomeness because all of them are awesome. Also all MVs are linked in the song titles because Tumblr won’t let me share that many videos in one post.

Keep reading

Oh gosh I got tagged

Got tagged by @neko-otaku13~ Thank you~

Name: *sigh* Amanda…….I really hate my name, please just call me Moogle…

Nickname: Mandy, Lynn (honestly thinking of changing my name), Bunny

Height: 5'5. Sad I couldn’t get my dad’s height he’s like 5′10 or 5′11

Ethnicity: English Canadian~ Some of my ancestors are from Wales though, which I find kinda cool~

Favorite fruit: Lychee~

Favorite season: Fall, but like early fall when it’s still sunny but the air is just getting crisp~

Favorite Books: Murder in E Minor by Robert Goldsborough~~~ I’m just a sucker for (murder) mysteries~~~ *sigh* I wish it was a more mainstream genre…

Favorite Flower: Hydrangeas~ My grandma used to have a big bush of them in her front yard just outside my window~

Favorite Animal: Bears and Bats~ They’re both very relatable animals~

Favorite beverage: I’m not really sure but I am LOVIN’ that Vanilla Coke is back on the shelves~~~

Favorite fictional character: Ignis obviously, but I love all these boys. In general for like all time, I honestly couldn’t pick one.

Number of blankets: One, usually two

Blog created: This one? Five months ago.

Number of followers: 496 (oh gosh that’s a lot!!!)

Oh man, I don’t know who to tag uuuuuumm

Tagging: @achroniclerofsilence (I can’t seem to tag you I’m sorry!!) and @roses-and-oceans I’m not sure if y’all have been tagged already, but here you go~

Hero vs. Anti-Hero


  • Idealistic
  • Conventional moral code
  • Always proactive
  • Modern version of a knight in shining armor
  • Succeeds at their ultimate goals, unless the story is a tragedy
  • Motivated by virtues, morals, a higher calling, pure intentions, and love for a specific person or humanity
  • Motivated to overcome flaws and fears, and to reach a higher level. This higher level might be about self-improvement, a deeper spiritual connection, or trying to save mankind from extinction. Their motivation and usually altruistic nature lends courage and creativity to their cause. Often a hero makes sacrifices in the story for the better of others.
  • Concludes the story on an upward arc, meaning they’ve overcome something from withing or has learned a valuable lesson.
  • Always faces monstrous opposition, which essentially makes them heroic in the first place. As they’re standing up to the bad guys and troubles the world hurls at them, they will take tremendous risks and sometimes battle an authority. Their stance is always based on principles.
  • A good guy, the type of character the reader was taught to cheer for since childhood.


  • Realist
  • Moral code that is quirky and individual
  • Ordinary
  • Passive
  • Indecisive or pushed into action against his will
  • Tarnished knight, and sometimes criminal
  • Might fail in a tragedy, but in other stories he might be redeemed by the story’s events, or he might remain largely unchanged, including being immoral
  • Motivated by a primitive, lower nature, including greed or lust, through much of the story, but can be sometimes redeemed and answer a higher calling near the end
  • While possibly motivated by love or compassion at times, is most often propelled by self-interest
  • Appears in mainstream or genre fiction, and the conclusion will not always find them changed, especially if they’re a character in a series
  • Battles authority and sometimes goes up against tremendous odds, but not always because of principles. Motives can be selfish, criminal or rebellious
  • A bad guy in manner and speech. Can cuss, drink to excess, talk down to other, and back up their threats with fists or a gun, yet the reader somehow sympathizes with or genuinely likes them and cheers them on

- Jessica Page Morrell, Bullies, Bastards, and Bitches: Writing the Bad Guys of Fiction

I talked to a group of teens at würk abt emo which was cool bc it’s always fun to find others who have a spanning knowledge of less mainstream (shootmeplease) genres in the burbs
one of them has One oingo boingo song on her phone and it’s Little girls

Guide: Middle Grade, Young Adult, New Adult

Anonymous asked: Hello~ So anyway, I was wondering about some things related to YA vs. NA books. My characters are currently 18 and 20 (well, he looks twenty, he’s immortal), and this age group fits more the NA books than YA. However, I’m more shooting for YA, as my plot doesn’t center around anything explicitly NA. I was wondering if the age truly matters that much, or if I should alter my characters’ ages to match the YA group more?

Generally there are two criteria used to determine the age category:

1. Age range of main characters:

Middle Grade - ages 8-12

Young Adult - ages 12-18

New Adult - ages 18-25

2. Issues dealt with in the story:

Middle Grade

Lots of external issues like school, camp, adventures, relationships with parents and friends, and first crushes. But also some internal issues like leaving childhood and learning how to fit in.

Young Adult

Lots of internal issues like identity and sexuality, depression, coping with grief and loss, self-harm, suicidal feelings, peer pressure, and transitioning into adulthood. But also some external issues like high school, learning to drive, first job, first romance, losing virginity, loss of innocence, alcohol and drugs, broadening horizons, and getting into college.

New Adult

An even mix of internal and external issues, focusing primarily on settling into life as an adult. Common external themes include going to college, first full-time job/career, military, travel, first serious relationship, sexual exploration, changing friendships, racial tension, abusive relationships, financial independence, first home, engagement, marriage, and starting a family. Common internal themes include many of the same internal themes as YA, but also things like empowerment, betrayal, fear of failure, conflicting desires, vulnerability, dark secrets, reluctance to “grow up.” The romance sub-genre of New Adult novels also focuses heavily on sex and issues related to sexual exploration and identity.

If your novel doesn’t fit into any of these classifications, you may have a literary story, mainstream fiction, or genre fiction, which are generally adult geared but are often read by younger readers.

For example, George R.R. Martin’s A Song of Ice and Fire series is high fantasy (genre fiction), but despite its mature themes, is often read by young adult readers.

Originally posted by selenaqgifs

When you get hard work you get success, and we put a lot of years into it.  - 
Selena (April 16, 1971 – March 31, 1995) 

She was an American singer, songwriter, spokesperson, actress, and fashion designer. Called the Queen of Tejano music, her contributions to music and fashion made her one of the most celebrated Mexican American entertainers of the late 20th century.Billboard magazine named her the “top Latin artist of the ‘90s”, the “best selling Latin artist of the decade”. She is often called the “Mexican American equivalent” of Madonna for her clothing choices, by media outlets. She also ranks among the most influential Latin artists of all-time and is credited for catapulting a music genre into mainstream.


Oh, Indian cinema. It is so fascinating to watch you evolve. Perhaps the only popular cinema on Earth that still rebels against the narrative vocabulary so aggressively imposed as “good” by Hollywood and the West, yet now confident enough to constantly dismantle both those ideas and formulas along with its own, creating something new in the process every time.

As much as the World’s media would like you to believe, our film culture is not defined by Bollywood and Shahrukh Khan. I saw more than 100 Indian films over the last 12 months, many good and many awful, but the social and political climate in which movies are being made, a world in transit pushing against the force of globalisation, makes pretty much all of them a thrilling and challenging watch. These ten films listed below are those which assessed the language of storytelling, whether embracing or dismantling the “rules”, and really managed to say something. Enjoy!

10. Judge Singh LLB

Modern Punjabi cinema is a movement in itself just by existing, but this little film represents more than just a growth spurt in a once-dormant regional industry. The true spirit of independent cinema is alive in Judge Singh LLB; charmingly scrappy production values and an earnest creativity that rises above technical and budgetary restrictions. This is the same energy we saw in the sudden flurry of new-age Tamil comedies a few years ago (Naduvula Konjam Pakkatha Kaanom, Soodhu Kavvum etc.) where a filmmaker can be felt simultaneously satisfying their own creative impulses while tirelessly serving the audience something entertaining. Every over-exposure, every shaky GoPro shot, every slightly awkward cut, is easily forgiven when intentions are this good. And with a script so insanely fun, that seamlessly fulfills being both a gripping thriller and a slapstick comedy, (a bumbling work-shy law grad is forced to fight a controversial murder case to win over his bride – tell me you don’t wanna see this!), you may not even notice anyway.

9. Su Su Sudhi Vathmeekam

Malayalam cinema is officially in a league of its own, and I could have easily written a top 10 list of films from Kerala, with this one being the summation of everything that’s making it great at the moment. While visually unassuming, this tale has one of the largest ensemble casts seen in a film this year, and beautifully manages to make every character a complete person. With a different director or writer, this could have been a confusing and directionless mess of subplots and narrative dead-ends, but in these capable hands it becomes a tapestry of human life, with this colourful array of people weaving their way in and out of our hero’s journey in a way all of us experience in our realities. Another brilliantly character-centric Malayalam film this year, Amar Akbar Anthony, imploded in on itself when it frantically tried to be about something in its last 20 minutes. Here, we are spared a similar fate, quite miraculously when considering the moralistic ‘feel-good’ (ugh) potential of the story of a simple man overcoming his speech impediment. His disability doesn’t define his character. Sure, it means that themes of self- confidence, societal attitudes to the “other” and the power of determination are all tackled, but the main triumph is that this is just a film about humans, and everything that comes with being one.

8. Piku

After the last few years of commercial Hindi cinema, it seems repetitive and patronising to talk about “women-centric films” in the same way we did when Vidya Balan was the biggest name in Mumbai. Yet this is not a film about being a woman, or how hard it is to be a woman, or how women can smoke and drink and fuck and no-one should judge them. In fact, it’s a film about family, old-age, and our attachment to the idea of home. The fact that the our main character happens to be woman, a complex bundle of charm and erratic mood-swings and wonderfully polished grey-areas, as far from being two dimensional and as close to being a living breathing human as is possible on screen, is simultaneously inconsequential and revolutionary. The heroines of Tanu Weds Manu Returns and Queen, lauded for their feminist subtext and superbly performed by the face of new “women-centric Bollywood” Kangna Ranaut, are essentially caricatures. They are types. Piku is not a type. Sometimes she’s a bit of a grumpy asshole. And then sometimes you’ll wish she was your best friend.  She’s totally unpredictable, yet will remind you of yourself and everyone you have ever met. This detailed dialogue-heavy character study of a frustrated single woman and her relationship with her needy father became one of the biggest hits of the Hindi box office this year. Don’t confuse corporate figure-mongering with genuine audience approval – Piku was a triumphant and unexpected phenomenon, and this is something to celebrate.

7. Kunjiramayanam

We have a problem with comedy in mainstream Indian cinema. The genre is defined by broad, unfunny slapstick outings (personified by the films of Sajid Khan and his Housefull series) or crude sexual innuendo (Grand Masti, Kya Kool Hain Hum), and in the South, comedy is usually relegated to a “track” in a film with a simultaneous, much more serious story-line, or simply diluted with jarring and unnecessary melodrama and emotion. So we return to the Malayalam screen, which has now given us the Perfect Indian Comedy Film™. Doused in local flavour and a beautiful sense of time and place, the humour of the film (lightheartedly satirising small-town India’s obsession with ritual and superstition) is purely situational, which means that the huge cast of characters are allowed to become really lovable, and feel like close friends by the time the credits roll. The film is so funny, and so untarnished with anything other than actual comedy, that you may actually miss how well written some of the relationships are, and the cinematic and visual finesse with which it has been shot. However first and foremost, this is a stupid film about stupid people, and simply one of the finest ones India has ever produced.

6. Nirbaak

Placing this film in any canon or cultural trajectory is difficult. It’s too much fun to be considered “parallel cinema” (the tag given to mostly joyless and dour “realist” Arthouse Indian film), yet too genre-less, too obviously crafted from the mind of an auteur, to be placed into any other box. This is cinema about cinema, and not in the way you’re thinking. It is cinema about the craft of cinema, using image and sound (not words) to create meaning. Four stories, including one about a tree in love with a woman and another about a coroner in love with a corpse, communicate some really damn deep questions about the nature of human emotion. Is it possible to be in love with yourself? Can attachments to inanimate objects ever been considered as love? Is jealousy a form of love? There is hardly any dialogue, just brilliantly composed images, wonderful visual storytelling and some powerful sound design (struggling to remember another instance this year where I even noticed sound design in an Indian film), yet we are forced to think about the very feeling that defines every member of our species. A work of genius and poetry.

5. NH10

I love it when a recognisable Western genre is perfectly Indianised. I find it a fascinating process, seeing what needed to be added, subtracted and adapted in a formula to allow it to sit comfortably in an Indian movie theatre. Here we have the horror-thriller genre, I’m thinking of films like Donkey Punch and Eden Lake, that start off as normal dramas before slowly descending into terrifying disaster, horrifying because “It Could Happen to You”. There are homages played to various western genres (most obviously Anushka Sharma’s Kill Bill yellow-esque jacket she dons while literally slashing the patriarchy), but the film plays on very Indian fears and themes. A middle-class metropolitan couple find themselves violently embroiled in an honour-killing in a rural wasteland while on their way to a luxurious retreat, and in one short, economically taught thriller, the uncomfortable gaps between India’s rich and poor, cities and countryside, even men and women, are exploited to brilliant effect. Taken at its most rebellious, the film is a warning to the new designer handbag-wearing class of Indians that they are not safe in their high-rise towers from the lawless madness of “Real India”, or perhaps an aggressive call to arms to women either side of the class divide, united by the sexism, though various in its forms and degrees, that unfortunately defines their existence in modern India. The most valuable lesson of NH10 though, is that much more than monsters or ghouls, it is human beings that are the most horrifying.

4. Masaan

For each film in this countdown, I’m attempting to assess a film’s cultural impact, its cinematic value and also what it is actually about, but I can’t do any of this for Masaan. It is a gorgeous slice of poetry that will wash over you like ocean waves, affecting you deeply in ways you are unable to explain. Two simple stories of life and death, told with a remarkable flair, remarkable in the fact that it immerses you into a trance-like state, forgetful of the fact you are even watching a film. It has the ethereal pace of a dream, visually and sonically intense, reminiscent of reality but somehow detached from it. The narrative threads are simple and don’t require description, yet it is also impossible to tell you what this film is trying to say. People talk of caste, of religion, of values, yet this is not a film with a message. It is about everything and nothing. About life and death and rebirth and love and desperation. It uses modern India as a palette of colours with which to paint a mural of the giant shitstorm that is humanity. How can one film do so much? I really have no idea, but it did.

3. Premam

Is Premam a film about the male gaze? Let’s look at the character of Malar. She is the second of three love stories that we witness in our hero’s life, and she became nothing short of a real life Kerala-wide phenomenon. It’s hard to think of the last time that a fictional character dominated popular culture in such a way. She’s gorgeous of course, but not perfect (her pocked face was a major talking point). Does this satisfy some male desire for imperfection, damage limitation for potential jealousy and heartbreak and insecurity? She is unphased (though not accepting) of inappropriate, sometimes sexually aggressive behavior, and holds no qualms regarding close social interaction with males. Does she represent some deep fantasy of the repressed Indian man, constantly teased with the idea of the sexually liberated Western female? And is there anything wrong with this? The female characters are well-rounded and three dimensional and treated with dignity and respect (by the writers, not always by the male characters). For the most part, their lives do not revolve around solely men. Is it sexist that this a film about male desire, their attitudes to women and relationships? I think it’s actually mighty interesting, and it doesn’t hurt that it has some of the best casting of the year, a thrillingly uncontrollable visual force, and a tumbling free-form structure that reflects the pace of life in a way so many other Malayalam films have been nailing recently.

2. Yennai Arindhaal

Gautam Menon, master of the meta-romance, decided to dismantle the masala genre and its defining characteristic of the superhuman alpha-male, using one of Tamil Nadu’s biggest superhuman alpha-males Ajith Kumar, and in the process created one of the most sensitive, socially forward-thinking action movies I’ve ever seen. Yes, this is a crowd-pleasing blockbuster about a tough policeman taking down a criminal gang of organ smugglers, but more importantly it has an important subtext about male responsibility. The hero’s motivations revolve entirely around his daughter, but not in a mawkish melodramatic way. She is not his biological daughter. His wife had a life before him, that he completely accepts and takes with him after their marriage and never makes her feel guilty about. He is a role-model for the disgusting main characters we usually see in masala films, treating all the women in his life with unpatronising respect. At one of his first meetings with his future wife, after she has performed a dance recital, he doesn’t flirt or badger, he engages with her in conversation about her art, her interests, her passions. He wants to know her. And when he later becomes a father to her child, he does so in a beautiful way. I cried, not because these were intense emotional scenes, but because they were not. To see the most mainstream of cinema embracing single-parenthood and remarriage in such subtle, mature ways, nonchalantly embedding them into rip-roaring violent revenge thrillers with twinkling nighttime highway colour pallets and joyous song sequences and “punch dialogues”, is truly a beautiful thing.

1. Angrej

Am I giving this film more credit than it deserves because it came from the Punjabi film industry, a regional cinema that prior to this year either produced crude political propaganda or painful slapstick comedies? Perhaps. But the Punjabi-ness of Angrej is everything that makes it special. Most similar in cinematic style to the frantic rural Madurai films in Tamil from the 2000’s (Paruthiveeran, Aadukalam, Subramaniapuram, Kaadhal), with this energetic French nouvelle-vague-esque pacing, jump cut to jump cut polishing every nook and cranny of these worlds and their people, places that we aren’t used to seeing in cinema but which become effortlessly cinematic in the hands of these directors. The sheer volume of evocative images in these films makes you wonder how the hell they had enough time to shoot, but they are far from showy and gimmicky. Every scene in Angrej is beautiful, not in the way they contribute to an overriding narrative (as this is not the type of film where a story is in the least bit important), but because of the tone they establish, the hyper-specific time and place that we feel through the images, the dialogue, the music. The barely-there plot consists of a low-stakes love triangle, but through the characters and their village, their day to day lives as farmers, we think about rural India as never before. Imperialism is addressed via its absence. The story takes place during the fight for independence, but the British have no interest in this tiny community. It is of no use to them. Social norms and values are humourously satirised, a husband ashamed when his wife dares to walk so close as five paces behind him. The glorious folk culture of Punjab is documented stunningly through song sequences that melt into the very fabric of the film in a way only Indian cinema can achieve (this is not a musical), two jealous men hilariously warring through the tradition of boliyaan, melodic rhyming couplets. More than any of that, this is a film about time and society, how much yet how little we change over the years. This is cinema of the highest order. Punjabi movies have found a voice, somehow oddly close yet so thankfully far from Naughty Jatts 2.

I still feel emotional that a Punjabi movie stunned me into a wordless artistic coma. This is the thrill of being an Indian film nerd, with its boundless regional pockets, never knowing when a language or culture and its people will start a movement. I thought about movies and this list with every second my brain had to spare, and these are the ten films that lingered the longest. I really hope you enjoyed reading this, and have a wonderful 2016 where you continue to be engaged, critical and consuming plenty of art! Please let me know your thoughts, that’s what makes all this worthwhile.

Love to all xx :)

Black Metal

Black Metal has stopped being about the cult and the aesthetic, and it’s become more about the music. You’ll see all of these elitists getting all up in arms about bands who are experimenting with Black Metal and maybe fusing them with other genres such as Shoegaze and Industrial music, and during all their whining, they forget that this was what Black Metal was supposed to be. A genre that does something new, goes against the grain, pushes the envelope, y’know?

Remember all those kvlt as fuck bands like Burzum, Mayhem, Darkthrone and Celtic Frost? They all did just that. They all tried something unconventional, and some of it worked, and some of it didn’t. And now, since Black Metal has become such a massive genre, even mainstream, it’s become kinda stagnant (up until very recently) and that’s not what Black Metal is all about. Black Metal has been, and always will be, a forward-thinking genre.

Embrace change, you silly fucks.

Can you believe there are dudes complaining about the fact that Bloodstained has a female protagonist? All claiming that this is yet another example of Feminism Ruining Everything.

Let’s get this straight.

They’re asserting that having a female protagonist in a Metroidvania is feminism run amok.

The genre that was invented by a game with a female protagonist.

Practically the only mainstream genre of video games in which female protagonists have historically been in the majority.

Indeed, a genre where having a woman in the leading role is regarded as conventional.

That genre.

Of course, anybody with even the slightest familiarity with the history of gaming could have told you all that.

Fucking fake gamer boys.