meaningless details

Analysis: Romance in One Piece

Note: I’ll be posting condensed versions of this analysis in other sites

A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers

“Who lives on ilusions dies from disappointment” – An old Puerto Rican saying

Most of us know One Piece is a very popular manga. Its high quality and popularity depends on several factors, among them we could name memorable and likeable characters along a deep, compelling, fun and action-packed story. The One Piece many know and love wouldn’t exist without the balance between these factors

When talking to at least 3 different One Piece fans, each of them non-shippers who analyzed the manga they all enjoy, I found interesting and pretty sound perspectives of the One Piece story and its nature. All of them value characters, story, development, consistency and logic; something I can totally relate to

But I also found a pattern; these 3 guys shared one single outlook on the very same subject: shipping. Regardless of their expectations, all of them expressed distate for shippers’ general mindset and “odd” viewpoint:

One of them called shippers out for ignoring characterization and very clear and direct statements made in the manga. His attention was centered on a Luffy pairing and how it contradicts his own character. Oda once explained that he writes Luffy as someone pretty straightfoward when it comes to expressing his thoughts and feelings, and this non-shipper said with brutal honesty that for the discussed ship to happen we would need to disregard and/or discard the very core of Luffy’s character. Meaning Oda would need to stop being consistent and faithful to his own story and characters

The next one explained how shippers tend to turn a characters’ relationship into a sappy teen love fantasy that doesn’t match One Piece at all. His analysis also exposed how integrating this kind of underdeveloped “love” into the story would severely damage One Piece originality, ruin the series and needless to say destroy the likable dynamics between several characters as well as their own development. This fantasy, this so-called “love”, is what the vast majority of shippers support and defend. The same kind of “love” most non-shippers, fans and critics dread

The third non-shipper gave me a more detailed explanation: this is even more rough than the other two as he describes that the common shipper mentality of “he/she likes her/him so they should be together” can “only be likened to that of elementary schoolers”. And how shippers take every little meaningless detail and blow it out of proportion with no regard for context, legitimate bonding or the canon story!

But we can’t put all the blame on shippers. Many manga authors seem to have no idea how to write a character-driven series or complex character relationships. In fact, mainstream shonen writers have their fair share of guilt into promoting this common shipping mindset by being notoriously bad at writing romance. Which results in underveloped premises that leave your average fan skeptical, and your average critic disappointed at a poor portrayal of emotional bonding and a severe lack of cohesive narrative in the “romantic love” department

This is the reason why many fans, critics and non-shippers hold the shippers’ perspective in a very low regard. Just like the third non-shipper states: “The blushing, longing stares, corny ass lines etc. That kind of poorly portrayed romance is the kind of thing dreaded by the average fan because it reduces the quality of One Piece to the level of such poorly written series”

So an author needs to build a relationship the same way one person would construct a building: stablishing a strong foundation on companionship, respect, trust, signifcant moments, and emotional bonding. All of this must come before reaching the status of “romantic interest". In relation to this subject, there’s a trope called “First Girl Wins”, a portion of its description truly fits this criteria:

“From a [extradiegetic] point of view, the Law of Conservation of Detail suggests introducing the Love Interest early. An early introduction allows you to get the audience interested in her and rooting for her, gives you space for Character Development, and gives her relationship with her (eventual) partner the most time to develop organically. And with all that said, it’s such a common device that in all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017

Notice this isn’t a cliché, this is a literary device to enhance the story. Pairing up two characters without meaningful moments, emotional build-up and development, is the equivalent to lazy writing. Having such elements firmly stablished for two characters and then deciding to go for a different “route”, pretty much wasting a well-developed relationship for the sake of a “weaker” premise, would be the equivalent to bad writing

Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of course not! Is he, a man who planned the ending years ago and is still sticking to said ending, a bad writer? Being number 1 in Japan and having such a loyal fanbase all around the world prove he’s not!

Do shippers want Oda to be a lazy/bad writer? Facts already answered this question as many (although not all) fans value their own fantasies and delusions over the manga canon and/or the author’s take on the characters and their relationships

Many (but not all) shippers now have a war. Not only against rival ships but mainly against One Piece story and consistent development. Yet as the old saying goes, those who live on delusions will have to eventually face reality and disappointment, because Oda is not a lazy/bad writer like some people here would want him to be

B) Romance Dawn AKA The not so secret origins of One Piece

“If we don’t know where we are going, it can be helpful to know where we come from” – Jostein Gaarder

When debating posible outcomes, fans rarely look back at the time when One Piecewas a still a work in progress. Taking a look at Romance Dawn V.1 and Romance Dawn V.2 helps us to see there are constants present in all versions of these Works that made it into what would later become the most popular manga in Japan

But before discussing those constants I would like to clarify the meaning of the word: “Romance”. There are people who doesn’t really grasp the concept of “Romance” both One Piece and Oda work with. Luckily the first two non-shippers I meantioned shed some light on this subject:

Romance:

“A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful
“A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place”
“A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes

– thefreedictionary.com, 2016

“A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious
–  Merriam Webster, 2016

Romantic:

“Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized
“Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous

–  Merriam Webster, 2016

These definitions match pretty well One Piece and Oda outlook on this concept. Even Oda lampshaped this by giving his own translation to the title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”)

So Oda’s “romance” covers a wide variety of themes: Adventure, heroism, mystery, virtue, idealism… we can find comedy and tragedy, happiness and sadness. And among the virtues and the idealism we find companionship and love. As the second non-shipper I mentioned explained One Piece is pretty much like an “Adventure novel”, which is why we’ll find in One Piece many of the tropes commonly used in those books

Among those tropes, we find a couple of constants in all versions of “Romance Dawn”

The golden-hearted protagonist and the “First Girl” who doubles as a female lead. Think about this “what if” scenario: If things would’ve played different back then and One Piece never went beyond “Romance Dawn V.1”. If that story were to be elaborated futher, which two characters would had shared the most moments to become endgame? The answer is pretty simple: The golden-hearted protagonist and the female lead!

But when debating, the weight of the argument depends on edvidence so we need to rely on what we can confirm. And we confirm this, what’s the constant in Luffy’s story in all versions of Romance Dawn? a Nami-like character

This becomes even more interesting when we discover that at an interview at “Manga no Chikara” and others, Nami was supposed to be the first one to join Luffy but her debut was postponed by Oda’s editor at that time. Edvidence of this being a last minute decision remains on the first color cover:

Yet as the second non-shipper noted: “her role as secondary protagonist was not altered” for “Nami shares with Luffy the largest character development in the entire series”. And as explained here we already know how the trope goes when someone seeks to write a natural growth for an emotional connection between two characters 

In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [….]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami

In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective

C) LuffyxNami AKA LuNa/LuNami

“Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley

Many shippers tend to ignore and disregard the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships

To makes matters worst some of them even deem as illogical any argument solidly based on these factors. While considering stuff like lines, frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as legitimate proofs of a plausible outcome! In fact they even value comparisons to other series with a different tone, themes, and characters over anything that the One Piece author conveys through his work

There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing!

But in order to reach a conclusion that remains true to One Piece and its nature we have to rely on the very same foundation that was already described several times: mutual trust/respect, faith on one another, significant moments, stress in their relationship and emotional development. If the story doesn’t let you build your premises on these elements, the conclusion you’ll reach will obviously be flawed and stray away from what One Piece really is

So here I’m not only defending the premise I strongly support; I’m defending the very same story and build-up that contributes to this bond’s natural growth:

As explained before there’s nothing explicitly romantic about major interactions. But given we’re dealing with a good and dilligent writer, what we’ll get to see is how big to small moments stablish an emotional connection between two characters, and how that becomes the base for a even greater growth

First we have the themes of trust and faith: At first Nami doesn’t trust Luffy very much, out of her clear distate for pirates, until witnessing how far was Luffy willing to go to selflessly help others. Even then Nami treated their relationship as a mere business and later betrayed the crew

Still Luffy always trusted Nami to the point of putting blind faith in her. Even when given reasons not to do so. One remarkable example is when Luffy was informed by someone trustworthy (Johnny) that Nami apparently “killed” to Usopp, and Luffy not only kept holding onto his blind faith in Nami but he also threatened Johnny for saying such things about her


This becomes something remarkable when we take into consideration that Zoro quickly gave up on Nami and later tried to attack her without even a second thought! While Usopp just wanted  the Merry back…

And it would later become even more impressive in the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of wounded man he didn’t even know, and even doubted Robin during Water 7 until Nami told him and the crew the truth behind Robin’s desertion:

But what else makes this situation with Nami any different from others we see in the manga? Some might point to the saga where rescuing Robin was the primary objective; but in Robin’s case Luffy knew her life was in danger for Robin was planning to die for the crew, and he got the resolve to save her only after learning the truth. Others might point to the current arc, but he saw right through Sanji’s act and got desperate to rescue him only after hearing his life is in danger.

Here, Nami’s life wasn’t in danger as far as Luffy knew. And he constantly try to reach out to her despite her harsh attitude and the fact he knew next to nothing about her past and her current circumstances. It was only when he saw her cry he got enough motivation to beat Arlong, and it was only when he got a small glimpse of what she went through that he lost it!

How does Nami respond to this? Initially she wanted to get Luffy out of her villaje and her life. While Nami indeed grew fond of Luffy and the others she wasn’t willing to bond with any of them; she held on her distrust of others. But that changed when she finally hitted her lowest point, when she finally lost all hope. Then it comes Nami’s first major development as character: she realized she needed to rely on someone else, she realized Luffy was her only hope Nami decided to rely on him. The following scene marks the first time of many when Nami relied on Luffy to a emotional level. And the first of two times when Luffy entrusted his treasure to her in a touching gesture to provide comfort and hope:

From the very beginning the emotional build-up between Luffy and Nami was a key factor for one of the most meaningful and memorable moments in One Piece. The moment when Luffy becomes Nami’s “emotional anchor”

The effect Luffy had on her character was also quite powerful as we could see during the 2nd pass of the hat: back then at Skypiea arc Nami could still panic at dreadful situations: 

But as soon as Luffy gave her his treasure, the panic stopped and when he was later removed from the battle field, Nami was capable of drawing enough courage from Luffy to face the big bad from that arc:

Not to mention Luffy’s final move against Enel was combined effort of the two as well as an impressive display of mutual trust/faith

We can continue to appreciate their development even futher as the story goes on. As someone already pointed out, Nami during Water 7 displayed an impressive resolve and determination, but as soon as she got the chance to explain Luffy their situation she opened her heart to express how she felt, her anguish and her distress. When Luffy reassures her that he will save Robin, she doesn’t cry anymore until she reunites with Robin

Their bonding is even futher explored in the only One Piece movie fully written by Oda: Strong World. As this is the author’s take on their relationship is still a valid argument to support Luffy/Nami development:

We already considered how impressive Luffy’s blind faith in Nami can be. So after listening to most of Nami’s recorded message, Luffy gets enraged! Why?

Well, after all that time Luffy relied on his navigator without ever doubting her. He was likely expecting all his trust and faith in Nami to be reciprocated

Turns out Nami does return that feeling! And why can we say that? Remember the movie’s ending: Nami finds out everyone in the crew got her hidden “save me” at the end of her message… everyone but Luffy. Then when Luffy is about to play the recorded proof of Nami’s unwavering faith in him, what does she do? She tries to get rid of the “edvidence” out of embarrassment 

It’s easy to see then why Nami seeked out Luffy for hope and comfort during Zou. And how she did something similar to what happened in Water 7: she opened up to Luffy

I said it before, since Luffy is Nami’s “emotional anchor”, it makes sense for her to keep strengthening her bond with Luffy. And given Luffy needs a guide to new adventures and someone “mature” enough to sometimes keep him in line, it makes sense for Luffy to grow closer to Nami

She once summed it up pretty well: “He always talks big, but when it comes down to it, he knows nothing about the sea! He’s severely lacking in the ‘sense of danger’ area! And he always overdoes it…if I left him alone, he’d die. And he’s stupid, so I have to take care of him. That’s why I’m gonna help him!” - Nami, chapter 596

Still, none of this is explicitly romantic in the traditional sense of the word. But just like someone who’s contructing a building, we start dealing with the foundations to then proceed to make a solid structure: a well-written relationship that enhances the story

As someone once reviewed, Luffy and Nami dynamic doesn’t need to chance for them to become endgame for they already have anything they need to finish that “building”. And that’s what’s being a potent pairing means: having everything to your favor for futher development and growth. Luffy and Nami definitively have the major moments and the emotional bonding while remaining consistent to the One Piece canon to be considered a Potent Pairing

Bonus:

It’s interesting we find other interaction that proves how comfortable is Nami around Luffy: 

She doesn’t mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places But why is this relevant? In Thriller Bark we had a clear showing of how she reacts to pervs trying to accomplish what Luffy did here. She electrocutes them. We can confirm she haven’t changed in this regard because at the end of Fishman Island arc Nami electrocutes a perv for trying to peek at her while she was taking a bath

Another interesting detail about Nami’s attitude toward Luffy is a change we see in WCI. Of course we have the remarkable faith and trust Nami puts on Luffy by even boasting how him being the future Pirate King ensures their victory over Cracker’s ability.

But the real change is when Sanji brutalizes Luffy. Nami already stated she felt guilty for what happened when Sanji got taken. But when Sanji did his “little” number on Luffy her attitude changed, she not only begged him to stop but was also promising they’ll leave if he did (Luffy clearly disagreed on that)

After seeing the way Sanji treated her captain, Nami did something the could seem pretty justified because of what happened: she slapped Sanji and then sarcastically played along Sanji’s “royal” act.

When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:

The Japanese text for Nami’s dialogue reads: “Luffy!! Why?! No matter what his reasons are, after he did all that to you…”

The term she used here for the line in bold conveys the idea of severe mistreatment. She was obviously mad at the way Sanji attacked and badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more emotion to the prospect of getting Sanji back than Nami, she kept displaying far more concern for Luffy as the chapters went on

Nami is now showing, little by little, more of a emotional attachment to Luffy. Which makes a lot sense given what we saw in their story

SF9 Fansign Foreign Fanaccount

I don’t know if this is something anyone would be interested in, but I recently returned from visiting Korea where I entered one of SF9′s fansign events. If you’re curious to know how they interacted with me as a foreign fan, I’ll explain below. I tried to condense as much as possible, but it’s lengthy. Also, if you have any questions, you can ask me (:

Keep reading

Imagine James and Lily as an old couple

• James is absolutely horrified when his hair starts to turn gray.
• But than much to everyone’s annoyance he looks like a fricking anime character and his hair remains messy and full until the very end
• Lily makes this really horrible pranks like she doesn’t remember people or stories and practically kills James every time she does it
• James loves to tell anyone who will listen about their romance and how it started
• He goes into the most meaningless details and bores his grandchildren, shoppers, baristas, nursing stuff, doctors and even random people on the street
• but they all listen because he tells it with such an excitement and spark in his eyes
• they are both forced into retirement eventually because they won’t quit
• “ old?!?! What do you mean old?!?! Of course I can bloody go on a mission I just need a hand out of this chair”
• when they are finally retire they spend every possible moment with their grand children
• and are OF COURSE the best grand parents ever
• James spoils them waaay too much
• Lily just never says no to them
• they love to go to the park together with or without the kids
• they sit on a bench in the sun, Lily’s head on James’s shoulder as she reads him a story
• because he can’t see -let alone read- a bloody thing (but would never ever admit it)
• they also kiss a lot
• especially in public
• both of them are so proud to be “high school sweethearts” who are still very much in love
• James tells Lily everyday that she is only getting prettier with age
• Lily would brag about all of her family’s successes even the silliest things
• “oh how nice that your son is a healer BUT my grandson just burned down his house while discovering his magic!”
• Lily learns how to knit and loves it
• James loves watching her while she sits on the sofa with her little glasses at the edge of her little nose and just stair at her in awe
• she really did got only prettier with age
• they host a brunch almost every sunday
• and they invite EVERYONE over for every single holiday
• and James tells the same old lame dad jokes every year
• and Lily keeps on laughing even after over 70 holidays together
• Harry calls them every single day and still asks them for advice about everything
• Harry sings to his kids a lullaby that Lily used to sing to him
• which makes Lily so very happy because it’s a muggle lullaby that her father sang to her
• they have a competition to see which one can outlive the other one
• but inside both of them want to lose
• because after all these years they don’t even want to imagine life without the other

Sherlocked Con USA is over and we’ve been left with..different emotions. Disappointment, despair, confusion, anger… I think it’s totally okay to feel that right now. We need some time to sort out everything. I’ve been in the same condition yesterday. Today I want to calm down and to find some peace and harmony for myself in this fandom.

Our fandom is going through a difficult time now. Even the most united parts of it are starting to separate. It’s totally understandable in the light of everything that happened in the last couple of days.

I’d like to write down some thoughts about Mofftiss’ statements.


MARY

For me it’s the most difficult part.

Her revelation as a villain should’ve been the most LOGICAL conclusion for her character’s arc.

I’m not going to repeat everything we already know about Mary being coded as a villain throughout TEH-T6T. Just a short list of the most suspicious (for me) “coincidences“ regarding her character’s arc:

  • “Miss me?” / “Go to hell, Sherlock”
    The writers could choose any possible inscription for her posthumous DVD, but they decided to add another parallel between Mary and Moriarty. And then they left the audience with a feeling of “Oh my God, she’s planning something, something bad, just like Moriarty”. If you didn’t want your audience to suspect something, if you wanted to turn her into Saint Mary, you should’ve STOPPED MAKING THESE PARALLELS as soon as possible
  • She killed the protagonist. Not “nicely”, Mofftiss. You wrote this: “One more step, Sherlock, and I swear I will kill you”. And she killed him. Period. She never said “sorry”, never showed any signs of regret for causing Sherlock and John so much pain. “We are even” is a bullshit. 
  • What a coincidence that she appeared in John’s life when he was mourning Sherlock for almost two years. What a coincidence that she is an ex-assassin. What a coincidence that Mycroft was AWARE OF HER PAST, he even hired A.G.R.A. a couple of times. Mofftiss, do you even know your own show?
  • Her death scene is a violation of everything we’ve been told in HLV about shooting in a chest. What’s impossible, as Molly said? 1) You don’t fly away after the bullet hit you (TICK). 2) There’s no big stream of blood (TICK). 3) You have 30 seconds of consciousness before passing out, there’s no time for heartbreaking speech (TICK). BONUS: the laws of physics are not for Mary, apparently.

GARRIDEBS

So, they told us that they used this surname just because there were three men hanging out outside the window in Sherrinford. What kind of bullshit is THAT? They mentioned several times that “The Three Garridebs” is precious and important for Holmes’ reaction on Watson’s injury. They KNEW that this question will be raised sooner or later. Why didn’t they just use ANOTHER SURNAME for these men? There’s no logic, no sense. At all.

Redbeard / Victor Trevor

The decision that was made in the last minute?
So, in TSoT we heard the word “Redbeard” for the first time. 2nd and 3rd are in TAB (in the greehouse scene / in Mycroft’s notebook). They want to tell that there was NO PLAN, they just trusted their guts and never knew what’s the purpose of these plot moves?

What the hell, or my ambigious conclusion

“Mary’s issue” is the biggest one that make me believe in Mofftiss’ madness. While there’s still too much evidence for her revelation as a villain, I can believe that they genuinely considered Mary’s redemption arc as a good plot twist. Why could these two self-proclaimed ACD’s fanboys (who are TOTALLY AWARE of Mary Morstan’s minor role in canon) be sure that this is a great idea to add to their adaptation a badass Mary, who later turns into Saint Mary, I have no idea.

Some people are suspecting that there’s some connection between Amanda Abbington’s personal relantionships with Mofftiss (especially with Gatiss), hence her benefit performance in T6T (”BBC Mary”, urgh). If this is the case, I have only one thing to say: it’s totally stupid and unprofessional. NOTHING, including real-life relantionships, SHOULD INFLUENCE YOUR NARRATIVE’S LOGIC. Otherwise they’re truly bad writers, who doesn’t care about their own beloved show, not to mention the audience.

Oh, and that’s the problem. If Mofftiss are not lying, then they (and the other crew members, like Arwel) are TOTALLY UNAWARE OF THEIR AUDIENCE’S DEVOTION TO THE SHOW. They’ve been filming “Sherlock” for seven years so far, they’ve seen the dozens/hundreds of fans on setlock and conventions. I’m sure they were aware of the fact that there are lots of meta and analysis of the (sub)text of “Sherlock”. Right now they are behaving like they’re genuinely don’t understand that their show has multimillion audience, and some fans love it wholeheartedly. Moffat, who said to the DW fans that if they don’t read the subtext, then “hell mend you”, apparently, decided not to apply the same rule to “Sherlock”. They want us to believe that there was no long-term plan, that the majority of plot moves were made without any ideas how it’ll be revealed in the future.

What are my thoughts about everything?
Well, I’ve chosen not to be on one particular side.

There are things that are still bothering me.
1) I don’t want to believe in any single word from Arwel about the glowing skull. If he “just wanted it to glow” (for fuck’s sake, what the hell is that), then I see it as very disappointing and unprofessional decision. You want to fill the show about a detective / deductions / the power of observations with “meaningless” details that CAPTURE AUDIENCE’S ATTENTION (well, hello, I remind you that this bastard turned black in TLD when Sherlock had been on the edge of death / in the scene with Lestrade in T6T this bastard took the half of the screen glowing like fucking supernova)? You should think twice. Think about your audience above all, PLEASE, and not about something you “want” to add.
2) Their lies about “limited budget” were so blatant, I dont even know what to add. And I don’t understand what’s the problem with “limited budget”? It has nothing to do with the ability of writing your show cohesively.
3) Sue and her explanation of the scene in ASiP made me laugh, cry and scream. So, Sherlock and John, who knew each other for a DAY at that moment, should’ve said to Mrs. Hudson that they’re needing ONE bedroom to be coded as homosexuals?! Jeez, do you, LGB-fellas, frequently move in with same-sex flatmate and start to sleep in one bedroom from day one?
Apparently, yes, according to Sue’s comment.
I’m not insulting Sue, I just want to point out that her statement makes no sense. It’s ridiculous.
4) Yes, I still can’t accept the fact that Mofftiss used more than 150 romantic tropes unintentionally. “Homoerotic subtext” got out of their control. Some blatant parallels and mirrors are right on the surface of the show and I can’t believe they weren’t aware of that. What about Ben and Martin’s acting choices? If they considered this show as a romance (since Moffat claims there wasn’t any long-term plan), why Mofftiss never asked them to “slow down” a little? But that’s the point where things are becoming confusing.
They filmed the Gay Pilot. Ben said (sorry, can’t add a link, but trust me, I learnt this words by heart) that he agreed to take part in this adaptation’s filming only after Mofftiss told him IN WHAT DIRECTION Holmes and Watson’s RELANTIONSHIP will evolve. We all know what happened to their relantionship in S4. No sense. Martin said “Sherlock” is the gayest TV show. Queerbaiting? Everything’s possible.

My dear fandom-mates, trust YOURSELF, trust your own eyes and hearts. Our reading of the show isn’t wrong. We have too much facts on which (!) our theories are based. I can’t express how proud I am of every single fan artist, fic writer, meta writer. How proud I am of everyone who believe in this beautiful love story. YOU made sense of this show. YOU deepened it’s (sub)text.
We don’t deserve the writers’ lies, insults and gaslighting. We don’t deserve being treated like immature individuals.
No matter if they have an explanation for all the S4 fuckiness / if there’s the logical conclusion for their story in some kind of special episode or S5 - I won’t praise them. Never again. I’d like to thank them for S1-TAB, because it is very good and coherent story (yes, they wrote it accidentally, hahahah). I’d like to thank Ben and Martin for everything.

I’m not leaving the fandom. Never. I love this show too much. I’m still onboard with some speculations and theories (we have too much facts worth analysing, I guess, and it doesn’t matter at all if Mofftiss never intended these theories to be true).
My blog won’t turn into Mofftiss’ hatred. I’m tired of negativity in my real life. We have a lot to discuss, so let’s enjoy it. Of course, I’ll be salty towards anything that comes from our beloved writers’ mouths, but I won’t spread negativity.

I love you so much, my friends.
Please, take care of yourself. Media and fictional worlds are important (very much!), but our mental health is something we need to take care of above all.

I’m glad that people finally realize the absurdity of digging up someone’s past to prove that they deserve to be a victim of someone else’s bad behavior.  To bad it took years of violence and murder and letting people off because the victims weren’t perfect enough before anyone was willing to have this conversation outside of our communities. 

It is ridiculous and apalling that people would try to prove that an Asian man (who happened to be a doctor but that detail is meaningless in the long run because it would be wrong no matter WHAT he did or how “model” he was) *might* deserve to be beaten and dragged off of a United flight as if those cops and that crew had prior knowledge of who this man was before they targeted him.  

Olicity- Clashing Parallels (Part 1)

Note: I joined some wonderful people in CampNanoWriMo in April. The story didn’t follow as well as I would like but I reached my goal and I manage to tell the story as I intended from the start. Hope you all like it.

Summary:  Oliver Queen, the recently returned from the dead rich playboy, and Felicity Smoak, newly arrived at Starling City, find themselves unknowingly living parallel lives. What happens when parallels clash together…


The sun was yet to shine over the suburb as the hasty pace of the petite blonde echoed the street. Many would call her beautiful with the long blond hair, soft features punctuated by bright red lips, and deep blue eyes shining behind the glasses. Her face held an interesting mix between softness and determination. Especially now when her long legs didn’t seem quite long enough for the urgency of covering the distance.

With a soft disappointed sigh she walks pass the coffee shop, and almost runs up the rail’s station stairs. Almost out of breath she manages to smile facing the packed platform. She didn’t miss it. The morning train must be late.

Mentally she lists everything she had planned to bring afraid something was forgotten. But before she’s done the train arrives and the rush to get a seat takes over every person around her. Not her though, she’s too nervous to sit.

It’s her first real job. Up until now she only had part time little jobs to pay for her needs at MIT and chip in at home, this time she was working full time. It wasn’t her dream job but it was closer to it. Queen Consolidated IT department was a reference to all MIT graduates. It offered internships, something Felicity wished she could have applied too but money was scarce and keeping up with the payments for MIT and stay in Starling City was impossible.

Through the glass, the timid dawn of a winter’s day, cast a faint lighter tone to the sky and soon the street lights fade and people start moving about. The endless stream of buildings closes the line sight as they grow in high and closeness.

The first city station opens up space on the car as the first wave of commuters gets off. Felicity breaths in the fresh air that starts to fill the car. She welcomes the oxygen saturated intake before the doors close.

Her station is next and she joins the long stream of people. The giant clock over the station main exit informs her she has but 30 minutes to go through the maze of streets that is Starling City Business Center.

It’s of no surprise that a big part of the people leaving the station takes the same path she does. How many will be her co-workers? How many of these people will be acquaintances in a few days, weeks, from now? She wished for none but she knew better.

Everyone seemed to be rushing, just like she was; it was amazing how faster she walked when she did it with others with the same aim.

The Security Guard is expecting her, with a visitor’s card, soon to become employee card. She arrives HR minutes before the given time.

The morning is disappears between paperwork and learning everything about QC. Rules, procedures, protocols. Felicity does her best but not even the over smiling HR manager, Mrs. Grant, seems to understand them all.

It’s after lunch when family enters the different and yet familiar IT Department. The room is part open space and part private spaces, sunlight entering the space gave it a light welcoming feel. Felicity notices some empty desk and wonder which one will be hers while keeping in pace with Mrs. Grant that is now knocking on a door.

“Come in”

The voice is soft but with a ring of command of someone that isn’t accustomed to be disobeyed.

“Mr. Finn, Ms. Smoak.”

“Ah. Yes, Ms. Smoak. Welcome to the Team.”

The man is short and thin, he looks weak until one notices the eyes, sparkling piercing gems behind the glasses. Mrs. Grant excuses herself and Felicity is left in the talking presence of her new boss.

Mr. Finn introduces her to all her co-workers from the IT department. The names are lost, faces are barely retained. By the end, and already sitting at her new desk, next to a window that provides her with a small glimpse of Starling City outside, Felicity’s relieved that she doesn’t recognize anyone. It’s better this way.

For Felicity the job is simple enough and keeps her busy. Not mentally challenging but it provides for her basic needs.

The days go by unnoticed, just like she does. On the big room filled with IT experts she doesn’t stand out. She keeps to herself but even from her corner she notices the groups and groups dynamic in the room. A skill she learns early on in her life as a daughter of a struggling working mother in a city of glamour and pretends.

The dynamics are pretty simple. The married or committed are a group largely overcome by the youngsters out of IT schools with no attachment and whose worry in life is paying the student loans and party all night long. But in their mist there are ones more committed to having a life, and ones to whom the partying was enough. Outside their differences there were common interests, gossip being one of them and match making the other. Fortunately they limited themselves to friends and coworkers and she didn’t think they counted her as neither. That suited her, letting people close was dangerous, Felicity I learn that the hard way.

In between the regular boredom, that morning was going to serve as reminder has to why Felicity Smoak was recruited in the first place. The attack came out of nowhere right from the least expected and she was hard press on stopping it from getting through to any data. That was her job, and the intruder was clever and cunny.  A challenge she welcomed, and had her smiling.

It was the first time she was on the opposite end, the protector, and the system potential to defend was higher than she expected, under skill full hands. Like hers. If her mother came in right now she would immediately spot that her girl was in seventh heaven, as it was, no one in the room noticed, as they kept track of their own end of the system and Felicity kept this to her. She was handling it and adding more people could jeopardize her efforts.

But there were two sides to this coin, as Felicity’s work and concertation went unnoticed to all around her so did the way all around her were suddenly very quiet and overly concentrated on their screens went unnoticed for Felicity. It was uncommon to be this silent but the fact didn’t register. For Felicity anything outside the code in her screen and the challenge that suddenly had come her way existed.

Felicity releases the breath she was holding when the attack starts subsiding and only now she notices the gossip is running louder than usual and it seemed the subject was the same.

“He’s even better looking than the pictures?”

It takes her a while to register the co-worker on her left, Pat, is talking to her.

“Who?”

Pat looks at her like she’s an alien. It’s not the first time Felicity gets that kind of look, but it is the first time here and as a functional adult, she’s surprise it hurts as much as it did when she was a First Grader in Vegas.

“Oliver Queen.”

“Oh. Only know him from the news.”

The look turns to shock.

“He was just here.”

Now Felicity gets it.

“I was busy.”

The shock turns to confusion and soon after pity. It’s like she had missed a Presidential visit, no one did that.

Felicity wasn’t surprise that but a few moments after this she was getting evaluation looks. Following that evaluation she would be left alone on account of her weirdness; she didn’t mind. She had a job and that was the only thing she wanted from Queen Consolidated and Starling City.

It was a little after 8 in the evening when Felicity got into the train going home. The train was almost empty, too late for daily commuters, too early for night partiers.

The dark streets of the suburb were punctuated by a few open bars and pubs. She doesn’t stop.  She will eat at home while checking her messages.

The sender is the usual one but… she’s puzzled by the message. They’re coordinates. Her first outside task.


It was his first day at Queen Consolidated, and he was only here out of respect for his now dead father, and to not antagonize his mother. Moira was hard pressed in having him take care of the family business. He didn’t have neither the knowledge nor the will to learn but he would do he’s best. For now Walter had and Assistant give him the rundown of the company.

After 5 years things were different; he took Walter’s word for it as he didn’t knew much about the company before. Going from Department to Department where everyone kept gawking at the undead heir was getting tiresome; the ones that pretend not to look were almost as bad, with their sly glimpses shinning with curiosity. He usually welcomed the attention, especial from females, at least he did before…, but it was getting a bit too much.

“IT. Development, System Security. They keep our systems safe from cyber-attacks.”

The Director was waiting for him. At least he’s curiosity was damped by his verbose. He talked a lot for someone that was supposed to keep secrets safe. Mr. Finn listed all his employees, one by one, making him acknowledge every look of sympathy and/or curiosity… except one.

The last thing he expected was one person totally oblivious to his presence, especially a woman, but there he found it. In a corner of the Systems Security open space a blond hair woman didn’t even flinch, not even when her Director mention her name, her eyes never left the screen. In that small little thing Oliver found relief, somewhere in the world there was someone who couldn’t care less about his existence. He got her name, Felicity, an unusual name for and unusual woman.

It was the only distinct note in another wise one note day.

“So what you think?”

Walter’s Office wasn’t the same he’s father once used. An almost meaningless detail that meant more than Oliver ever expected it would.

Walter was the real surprise when he got back to Starling. He had married Moira which turn him into his stepfather. Oliver didn’t mind, Walter was a good man, loyal to his friends and he treated his mother and sister and even Oliver like his family, a family he loved and cared about. That was enough for him. As far as the Company was concern Walter was far more suitable to manage it than he was.

“You are doing a great job, Walter.”

“It’s your turn, Oliver.”

“I can’t…”

“You will. You just need time.”

He needed much more than time, he needed a miracle.

“Walter…”

“Oliver, I understand your concern. Still it’s your company, Oliver, and Thea’s…”

Oliver was aware it wasn’t an option to refuse. Still, as he sat on his office looking out the window to the Starling City skyline and the sea at the end of it, he couldn’t help but wonder how would he be able to tackle this new life.

He had been a drop out from every college he ever went. His major was more parties and women than Business and Management. He had learned but not then, back then he was someone as useless and unskilled as lost. Then it had happen, the accident. An enjoyable trip with his father in the family yacht, the “Queen Gambit”, turned his life upside down.

His father had died, right there in front of him, later, having managed to arrive the Island he had buried the body, already corrupted, but still so very much Robert Queen.

It had been five years. Five years he had to do everything to survive, five years he had lived in Hell, five years for the World to consider him as dead as his father. It was all over now. He was home. But nothing was the same. He was different, not that anyone would notice.

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There’s a big debate Schulz vs Merkel on tv right now.

It’s as boring and empty as you’d expect when you know that their parties agree on virtually every major issue. It’s nitpicking on meaningless details and useless policy and they’ll end up governing in a coalition anyway.

And even then, it’s guaranteed that Merkel will flip on at least one of the ‘major’ talking points of tonight once she’s confirmed in office again. Like she did on nuclear energy, immigration, marriage and more.

The parties represented there have become indistinguishable and what you get is already decided, no matter who wins the polls in the end.

this is a bit late because these past couple of days have been pretty chaotic, but have some of my thoughts about this last 19 days chapter!! this is unnecessary long and it’s mostly me being very confused and a bit frustrated and asking way too many questions, but i hope it can still be somewhat interesting to read!!

  • as i already said, im a bit disappointed that we didn’t get the continuation of the tianshan scene. even if it was to be expected since this is old xian’s usual m.o., it’s still kinda frustrating to never get a proper conclusion to this kind of moments. i understand that old xian might not want to linger on them and have the two pairs having a proper conversation because it wouldn’t be fast-paced enough and it would make them progress too fast, but slowing things down and giving the characters more introspection would actually be way more satisfying for the readers
  • also i just want to know how the hell did tianshan ended up going from that moment to he tian calling jian yi, like, WHAT. WHY.
  • which reminds me, how did he tian know jian yi was back?? did zheng xi tell him? did jian yi? or did he tian just try to call him and it went well?? i mean, i know this is a meaningless detail and that most of the time we are supposed to feel in the gaps, but not knowing these things frustrates me so much sometimes

(putting the rest under a cut because as i said, this is way too long;;;;)

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anonymous asked:

Could I ask for slow dancing scenes with Zoro, Law, Killer, Kaku, Shanks and Smoker? You are awesome, btw!

Roronoa Zoro: You couldn’t help but laugh a bit at Zoro’s red face. He was holding his hand out and you were looking up at him from the couch. It was only the two of you during night watch up in the crow’s nest and he always seemed to open up a bit more when the two of you were alone. Not only that but Brook, who was still awake surprisingly, played in the distance on the other side of the deck.

“What are you doing?” He looked to the side, scowling a bit.

“Come on.” You placed your hand in his as he pulled you up. He moved a bit away from where you were sitting and wrapped one arm around your waist and his other hand held yours tightly. His steps were slow and cautious as he was sure that if he didn’t, he would step on your feet. You giggled softly at his expression before leaning forward and resting your head on his chest. He gently rested his head against yours, stepping side to side with you. He swayed with you slightly with a small blush on his face but he did like having you near him.

Trafalgar Law: He looked at you with a raised eyebrow as you held your hand out to him.

“What?” You stuck your lower lip out as you motioned for him to take your hand.

“Come on, Law. No one’s looking.” He looked around and you were right. The two of you had snuck away from the loud festival going on in the town that they stopped at. He sighed and got up with your help. He wrapped his arms around your waist as you wrapped your arms around his neck. He was glad that the music slowed down from the upbeat music that was playing earlier that night. He immediately took the lead and swayed with you. He was looking into your eyes and the thing with Law was that it was as if he could see everything about you from just looking into your eyes.He leaned forward and rested his forehead against yours.

“You’re staring.” He mumbled softly. You blushed lightly but smiled at him anyway.

“I love you, Law.” He raised an eyebrow at your sudden change of conversation but he smiled a bit.

“I love you too.” You closed your eyes as your smile brightened. He held you close as he continued to dance with you until the stars began to spot the sky.

Killer: It was odd for him to suggest a thing but he could tell that you were down lately. When everyone was asleep, he pulled you close to him, one hand on your hip and the other in your hand. The only sounds that could be heard was the ocean’s waves gently hitting the ship and the soft music that played off the island that the ship was docked at. Neither of you spoke as to not break the fragile moment between the two of you. You rested your head against his chest and he could feel you relax in his gentle hold. He had removed his helmet a while ago so you were able to feel his lips against the top of your head. You moved your hand away from his shoulder and his hand so that you could wrap your arms around his torso. He wrapped his arms around your shoulders, making the two of you press against each other and feel each others warmth. With the distant music filling your ears, the two of you swayed together on the deck until you got tired which he didn’t hesitate to pick you up and take you to your room.

Kaku: He blushed lightly at your suggestion but if it made you happy, he would do it. He had his hand on your hip and the other was holding your hand. You were smiling up at him and he felt as if his heart would beat out of his chest. When the music started, he let you take the lead so he could get used to your steps. You giggled at his clumsy steps but enjoyed it nonetheless.

“Thanks for dancing with me, Kaku.” He smiled at you and shook his head, the blush returning a bit darker.

“If it makes you happy, I’ll do anything for you.” You smiled and placed a light kiss on his cheek and continued to dance with him. He eventually took the lead and they danced slowly across the living room of your house. He kissed your forehead before resting his head against yours, your eyes closed as the two of you continued to sway.

Shanks: He had messed up pretty bad and he was determined to make it up to you. He was able to get the crew to help him out as he decorated the deck late at night and he made his musicians play only slow and romantic songs. Ben was able to convince you to go to deck and you were pleasantly surprised. You walked over to the red head and waited for him to talk.

“(Y/N)… I’m sorry. Will you please forgive me?” You looked around the deck and your eyes lingered on the musicians.

“I forgive you… Don’t do it again.” He smiled and glanced at the musicians.

“May I have this dance?” You smiled and nodded before stepping closer to him and wrapping your arms around his neck. He wrapped his arm around your waist and swayed along with you. He messes up sometimes but he always has a way to make you feel better and to smile again. He kissed the top of your head and danced with you, happy at seeing you smile at him again. He’d do anything to keep you happy, even if it ended up with him being teased by the crew.

Smoker: He crossed his arms and looked to the side, away from your pouting.

“I will not do something so stupid.”

“But Smoker…”

“No, (Y/N).” When you didn’t pry or try to convince him like usual, he glanced at you and stiffened. You had decided to take a seat next to him silently but the sad look on your face made him want to hit himself. He sighed and rubbed his face with one hand. What kind of husband was he? First, the two of you didn’t have an actual wedding ceremony because he was way too busy to ‘worry about meaningless details’. Second, he had to cancel the honeymoon the two of you had planned so that he could train the rookies. Third, he hadn’t even been able to talk to you since he returned. And now, he wouldn’t even give you a slow dance? He could at least do that. He sighed and got up before standing in front of you. You blinked in surprise when his hand showed up in your vision.

“Come on.” You put your hand in his and smiled brightly as he led you to the center of the room. He held you close and swayed with you as you happily snuggled into his chest. You only wanted him. The other material stuff didn’t matter to you but he had a hard time realizing that.

twentybees  asked:

your jobs are cool! may i ask, what do you have to major in to be able to work as a character designer? I'd like to work in a similar field, but i dont know where or how to start

Hi

Thank you very much for your support :)

I m french, I love speaking english, but please forgive me if there is some english spoken mistakes :

To answer your question I would like to give you some advices and not a tutorial about how to become a character designer or how to draw cool stuff. You can find many tips about graphic design all over tumblr I suppose :)

I have to say that I m teacher since a long time, and more recently I had the chance to teach through Gobelins school as character design/ storyteller teacher.

I would prefer to share with you some informations that nobody use to share but who are much more important than graphic tutorials so I recommand people who read this post to share it a lot :)

I think the most important things I have understood to become art director / character designer is :

1/ practicing, I guess you have to find tutorials about drawing, you have to find life drawing lessons, you have to practice life drawing a lot, nude drawing a lot, you have to find a way to tell a lot of stories, thrygh comicbooks, animations, writing books, fiming..

2/ always focusing first on storytelling in your character design, and not only about “esthetic” , (I will talk more about it below)

3/ and staying curious of discovering many different influences from every kind of Arts or cultures or ages. (I will talk more about it below)

To be franck, I didn’t learn this job through my art school (Gobelins), but through my differents jobs as storyartist, comicker, character designer in real productions.

I mean that you can not do a proper design if you don’t have a strong story behind.

I also mean that my skills as a storyteller (storyartist, writer) are absolutely essential to be a good character designer / art director. for sure, 100%. I have became a better art director when I became a better storyteller (and I still have so much to learn of course)

A good design has to tell a good story. If not, whatever this design is good looking and with nice shapes, with nice brush photoshop made, it is not a good design but a vain design. You can not become a good character designer and less a good art director if you don’t understand that deeply.

The designs below from Ratatouille Pixar movie, are not about doing great esthetic designs (but they are also great good looking in that example) but they are first of all, created from a great story and created to push the story and to tell the story : you can understand relatonships, behaviours of each character, who is main character, who is second character,  through these  line up (below)

Pixar artists doesn’t care about puting graphic details, cool details, they remove all the details who don’t push their story deeper. Pixar artists care about what they are talking about. They want to stay readable, clear, coherent, meaningfull for the audience. This is the main difference between them and for example most of the designers from video games who lost themself in too many meaningless details in their designs (I love video games by the way^^ but they are not good example for you to follow to become a good designer for animation industry)

A good design has to be readable in one second, does not need subtitles to be uderstandable to an audience. that’s all. the rest is vain.

>>>>> in a word : a good design is like an ICON, it has to become iconic. For that purpose,you have to create a strong synopsis, a strong story then to imagine from that story  a strong, pure concept, pure idea to illustrate this story through one or several designs.


so a good design is about thinking good, not really drawing good… :))


 some other great and iconic designs readable in one second without knowing the movie, yes they are not drawing but it does not matter :

So : Do your personal stories, practice scriptwriting as much as drawing, all the time . As you can see, my last design are done from my personal project. I never split drawing and scriptwriting.

I mean don’t wait to get an art school to practice seriously, don’t wait to get a great job as character designer to practice. Practice seriously through many personal projects that you write yourself. So great companies and projects will come to you.^^

_____

learn how to write story through many scenario book or filming book:

here some books I suggest you to read as soon as possible and as much as possible:

in english I guess it is this one: but I m not certain sorry:

“filming” from Eisenstein:

http://www.amazon.com/Lessons-With-Eisenstein-Vladimir-Nizhny/dp/0809013509

in french : “lecon de mise en scene d’Eisenstein”

http://www.eyrolles.com/Audiovisuel/Livre/lecons-de-mise-en-scene-9782907114059

This book from Eisenstein is the most important book I have read about storytelling, and nobody knows it. Thomas Astruc, “Miraculous” creator, is the one who told me about it. There is a lot of books about scenario, storyboard, but none of them will learn you how about filming. This book explain you how the great director put deep meaning in their filming. This book tells about the scenography in a sequence. It explain you how to put meanings everywhere in a story, from the background design, through the character design, and to the storyboard of course.

another book I like is : Story from Mc Kee:

http://www.mckeestore.com/Robert-McKees-book-STORY_p_11.html

Why this book in particular? because it is made from “the Poetic” from Aristote. It is a very shematic book, hard to read, just take your time, take notes, make some exercices from it to understand it. It learnt me a mental grammar about how to think about a story.

____

so: conclusion : I have done a whole feature film screenplay about this personal project. My design are really stronger because they are made from a proper and strong story. This is the most important advice I could give to you.

My deep meaning is : a good drawing means something, tell a story. A good drawing is a drawing that you have thought about before you have started to draw.

Then I can give you some advices about my method of course but believe me, they are nothing compared to thoss about storytelling:

_ gather a lot of documentation and materials when you want to create a design. avoiding cliché is knowling deeply your subject. As I m doing a story about russian revolution and I m not russian, I try to gather many many information about the russian history , russian mythology, russian revolution, russian clothesabout this century, russian people…. This is not only about esthetic materials but about feeling the whole picture of your subject. so you have to read a lot, not only gather pictures.

_ Avoid to follow the “mode” but mix it.^^

I suppose you know we can not create stuff from nothing. We have to start from some pointin Art. But :

To create a new and interesting stuff, you have to mix two ancients stuff (at least) , not starting from only one influence.

My graphic style is a mix between many many influences. I don’t do “japanese stuff”, or “disney stuff”, or “comics stuff”, or “european stuff”, I have mixed everything I have learnt in my life.

Try to stay very curious of all kind of influences ; not only animation but Art in general, litterature, arcitecture, cinema, travelling, history of Arts (I have a History of art 2nd college degree which helps me a lot in my graphic researches). Try to stay open minded in every kind of cultures.

By example : Tezuka, creator of the manga, was very influenced by Disney. Kurosawa, best director ever, was very influenced by american cinema, georges lucas was very influenced by Kurosawa when he did Star Wars…..etc…

Try to discover as many art pieces as you can, never give up that in you whole life to stay inspired.

Personally I ma big fan of History, History of Arts, History of whatever in general. This is the main material I use for my work.^^

For that purpose , try to read many books, old books, shakespeare, Dostoievski, Homere, mythology books, whatever you want but really meaningfull books not only recent best seller(which are great of course^^ but do not focus only on them). this is a main part of your work , this is not lazyness don’t worry^^

same for movies: you can not tell good stories if you have nothing to tell :D : take the time to watch as many movies as you can, this is a main part of your work , this is not lazyness don’t worry^^  :

here some directors I love:

_ Kurosawa

_ Melville

_ Jonnhie To

_ Zemeckis

_ Nicolas Winding Refn

_ Mc Tiernam

_ Kurick

_ Takahata

_ Spielberg

My favorite movies :

_ Pusher II

_ Silence of the lambs

_ Benhur

_ Dersu Uzala

_ 10 commandements

_ Spartacus

_ Rush

_ Ikiru

_ Yojimbo

_ Kaguya princess

_ Munich

_ Mad max fury road

_ die hard 1

_ Hardboiled

_ A.I.

_ Contact


_ Compare yourself with the best artists in the world, not with your classmate in your artschool. If you want to be the best, and do the best production, be demanding and challenge yourself. Comapre your stuff to Pixar, Laika, Dreamworks, oldschool japanese mangaka and animator, ancient painters. Ask yourself why they are better than me? What should I do to improve myself? a lot of answer are not in the esthetic way but in the storytelling way believe me.^^

_ Don’t be shy, don’t be afraid to bother professional artists, show your work to professional as much as you can, ask them advice, be respectful with them and do whatever they will tell you to do to improve yourself. The only way to thank a teacher or a professional who helps you is to work harder and to follow his advices hardly.

_ Work full time, this is like a olympic game, this is serious : you have to be the best to get that kind of extremely competitive job. You need to implicate yourself a lot. You need to find a routine, you can’t work part time for this job. stay very implicated, stay extremely enthousiast.

_ To become better than other, that’s simple : work twice, triple more than other students. really. When a teacher, your boss seems satisfied, it does not have to be the end of the job.You have to impress people, not only satisfied them. Even if your boss seems satisfied, continue to improve your work after the deadline, until it is really great.

_believe in your potential but stay humble all your life, even after school, keep learning form others, never think you are the best.

Let’s stop for now, I hope it will help you and others people who wants to improve themself :)

another war (is all that pins my hand to your chest)

Relationships: Jon Snow/Sansa Stark

Summary: Jon receives a raven from Castle Black; the Long Night is here and Sansa wants to go with him.

A/N: Based on that still that was released today that made me almost cry. Also on AO3.



It was imminent. The Long Night was upon them and all they could do was gather some courage and warm clothing. Jon had learned about it the night before, dark wings, dark words. The parchment from Castle Black consisting of only three words that meant so much more, ‘’They are here.’’


He had summoned a meeting with his private counsel, Davos and Sansa, right away to bear the news. He didn’t have time for anything but make plans and defend his species. He tried not to think what that meant.


Now, he had to tell all those lords that had proclaimed him King in the North what seemed a lifetime ago, that more than half of them and their soldiers were not going to see their wives and children again. Some were not going to even have the chance to marry. He almost couldn’t do it. Sansa started speaking for him. 

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Promise

(In which something broken gets fixed.)

word count: 3,379
note: I feel like there are so many similar oneshots out there, but hey, have another. inspired by a scene from my school’s production of ‘Almost, Maine’ + the (rather disappointing) fact that no, you cannot get time or memories back.

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Seven Deadly Fight Scene Sins

Below, we’ve listed some common sins that can detract from enjoyment of a fight scene. As always, rules are made to be broken. It’s also worth understanding something, before you try though.

Why Are You Thinking? We Should Be Fighting!

When working on a fight scene, it’s best to write the sequence as it happens on the page. This way, the action is immediate and in the moment. A common mistake, though, is for the character to become distracted even when it’s just within their head. The author may insert thoughts, description, and even dialogue that slow or pad out the action. This can be very frustrating as it often can lead to the feeling that both the author and the character in question are not taking the fight seriously. After all, if the character does not believe they are in serious jeopardy then how can the reader?  

Commonly, this may happen during rewrites or if the author gets distracted with making sure everything is clear. However, it’s also an easy mistake to correct. So, just be sure to stay on point and when you read over your fight ask yourself: does this feel like it’s happening right now? If not, cut the fat.

Talking as a Free Action

Fights are like sprints, they are moments of extreme physical exertion that leave us breathless with little room for chit chat. Lengthy, chunky dialogue inserted as two characters pound away at each other is unfortunately as common as it is unrealistic. Whether it’s Chris Claremont’s Wolverine flying through the air as he delivers a paragraph of text or two characters mouthing off witty banter in the middle of a sword fight, talking while entertaining can quickly become the means by which a fight sequence devolves into the ridiculous. As we, the authors, are not experiencing the fight sequence as it happens, what the characters are physically experiencing can be easy to forget.

Here’s a solution that both Starke and I recommend: talk before and talk after. If your characters must talk during limit yourself to ten syllables. That is not ten syllables per character, that would be too much. Instead, limit yourself to ten syllables maximum for all your characters who are fighting. This way, you can easily count it out and you’ll know that the dialogue itself is serving it’s place in the scene without detracting from the sequence.

Five Minutes is a Long Time

As authors we have a tendency to exaggerate for effect and those of us who are inexperienced at a specific kind of physical exertion have a serious tendency to overestimate. For reference, five minutes is a long time. It is a devastatingly long time. The average street fight, by comparison, only lasts twenty five seconds. A fight can end in seven seconds. The maximum of movements that even an experienced combatant can make before simply failing due to overwhelming exertion is eight. The more unequal the fight between two individuals, the faster it ends.

Characters who overestimate like this, especially those who are supposed to be experienced, tend to look very foolish and it undercuts the sequence. There’s a limit to how long a fight can go before the reader starts to lose interest and to sell your characters, it’s important to make the attempt to be accurate.

However, translating time into text can be very difficult and while we can count a single page as a minute in a movie script, the same cannot be said for a novel. A simple solution is to limit yourself by counting it out through the number of moves instead of guessing how long. The longer the fight extends, the more exhausted a character is going to become. If you limit yourself to eight moves per character, then you will get into the acceptable range for keeping your sequence punchy and quick.

Remember, the wider the experience gap, the faster it will end unless the experienced character has a reason to keep it going.

That’s Not Anatomically Possible

We could also label this as “spontaneously develops third arm”. This can happen during rewrites or through the introduction of a new weapon or when the author doesn’t stage it out or think the physics of the scene through entirely. Sometimes, it’s an attack that would do no physical damage were it to connect such as spinning and kneeing (a knee takes it’s power from the body driving forward to the low-line of the body or upwards into the body, it can be lifted to generate a better, quicker spin for another attack such as a spinning backfist, but is useless on it’s own, it is also a single action movement) or multiple actions happening simultaneously like two characters in a death grip punching each other without releasing their hold and you have a sequence that sounds good but makes no sense when your readers step back to put it together.

The best way to solve this is by finding a partner to walk you through it physically even if it’s just bashing at each other with nerf swords. Yes, you may feel a little silly and foolish but the more work you put into it, the better the result will be. It’s important to get a good grasp the physicality and body positions in the scene as you’re describing it and this can be difficult to figure out in just your imagination.

Intuition Does Not Equal Skill

Intuition is nice, and so is “natural talent”, but unless your character is a several thousand year old immortal or a character who is continually reborn and acting on lifetimes of combat experience, then neither of these are a substitute for actual skill. Skill is empirical. It is earned through time and practice, we don’t come out of the box knowing exactly what is needed. When this happens in a novel, it is a plot contrivance and a cheat by the author to push the character along without having to say “how” they know. In short, it’s lazy. Worse, it promotes that unfortunate idea that skill is just something some has as opposed to the reality that it can be gained by anyone who puts in the required time and effort. This promotes the idea, especially for young readers, that if they do not grasp a concept quickly then they should just give up because the only skills worth having are those that come easily. Natural is not always better and no matter how much talent someone has, it will be nothing if they don’t develop that talent into a skill that they can use.

Don’t use intuition to cheat your way past a concept that you cannot adequately explain, instead dedicate time to understanding the profession or skills you are trying to include into your character. Yes, it will take longer and may be confusing in the beginning but the end result will be much better.

Detail? What’s that?

When you write your sequences, it’s important to be clear. If the reader is not grounded in the sequence, is not experiencing the sequence, and following the sequence as it happens then the grand fight or moment in the book will become meaningless. Detail can lend clarity to the image the reader imagines and make the sequence carry through. If your characters strike at the body consider where they are striking to as opposed to just having them throw attacks blindly. Have them focus on their opponent and visualize the body, break the body down into pieces: head, throat, shoulder, arm, wrist, hand, stomach, etc. When a character is knocked back, consider what they do. Do their feet slide? Do they stumble? Think about the body and how it reacts. Think about the environment and how they are affecting it. Be specific and be clear with the sensations you are eliciting.

Make it easy to follow. Read over the sequence with your “new reader eyes”, if you have to reread it a few times to get an understanding of what is happening then a rewrite may be necessary.

Don’t Call Your Shots

Whether your character is announcing to the villains the exact way that they plan on defeating them or calling out the name of their super special technique before they unleash it, don’t do it. It may feel badass to have the character tell someone exactly how they are going to be defeated and then follow through, it tends to ring hollow. One: it discounts the ability of the enemies to adjust to the hero’s plan and react accordingly (which hurts their believability, why should I care if they can be dispatched so easily after being told what is about to happen?) and two: unless the hero is lying or bluffing, they look stupid, overconfident, or both. After all, they just told me what’s about to happen. Unless you’re working within the long anime tradition of announcing a special attack, it just feels like a waste of breath.

Respect your villains and antagonists enough to not short change their intelligence for the sake of trying to make your protagonist more often. Study up on badass boasts and figure out what makes them work. Hint: it’s usually the humor beat afterwards such as Marcus in Babylon 5 when he says “In five minutes no one at this table will be left standing, five minutes after that, no one in this room will be left standing” and after he does so, collapses and says “Great, now I have to wait for someone to wake up” or playing off Superman’s reveal that he constantly holds back his powers for fear of hurting someone in the finale of Justice League Unlimited in the final battle with Darkseid when he says “But you can take it, can’t you, big guy? So, let me show you just how powerful I really am.” (He also doesn’t succeed, but it’s a great moment). However, neither of these outline exactly what they’re going to do but both come with the threat that it’s gonna be awesome.

Say it without saying it, leave room for excitement and the thrill of seeing just what a character will do instead of them telling us what they’re going to do.

-Michi

Even if we count LND, the closest Christine says to “I love you” is in Beneath a Moonless Sky and it is “I loved you”. And she says she would swear her love the next morning, meaning she didn’t say it anytime during the… uh the scene.
I also don’t think she says these words in any other sense in any of the plays. Not about her father, or about her son.
Maybe I am thinking too hard about a meaningless detail, but I think maybe she is not the kind of person who use the word “love” lightly.

anonymous asked:

I have a serious crush on this girl who I work with, I go completely out of my way to help her do pretty much everything. The two things wrong are is that she's extremely shy so it's so hard to make conversations with her and I have no idea if she's straight or not. I'm kinda thinking not by how she looks at me but I don't know what to do, should I be like "would you like to go on a movie date with me?" Or what please help me

Talk to her.

Tell her what you eat for breakfast or lunch, why you have chosen those clothes and other stupid things. Ask her about these stupid things and, above all, listen to her questions and ask her about meaningless details. For example, if she says that she ate biscuits for breakfast, ask her how many of them she ate and, if she says she drank a cup of coffee, ask her what colour was the cup.

Little by little, tell her more serious things, like your problems, your dreams and that kind of stuff. Never speak badly about others. Evaluate her answers and how she gets involved in the conversation.

And, finally, ask her for a date.

How to Get Over Someone You Once Loved Deeply

The grief of a broken relationship can be one of the most emotionally excruciating experiences in anybody’s life. Coping with the denial, anger, grieving stages will turn you into a different person, but remember that you are the one that will ultimately decide what to do with your emotions. Remember, enough is enough. There is a time limit to your heartbreak. You can’t let it defeat you. You have to choose to get up and heal. Here are ten important tips on how to deal with heartbreak and the negative emotions that follow:

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VAGABOND (1985)

A naked young woman emerges from the waves, like a scene out of Botticelli’s The Birth of Venus. She is a mirage of beauty and warmth right now, as she frolics by the sun-soaked shore, but as weeks and months pass, she ends up cold and dead in a ditch. The circumstances of her demise begin a mystery in Agnès Varda’s Vagabond, only to unfold as told through the eyes of those who encountered her on the road. It is learned that she calls herself Mona, a name whose significance isn’t lost on the viewer, as in Greek it means “solitary”. And solitude is merely one of the many subjects in Varda’s fascinating masterpiece of a woman’s life on the road. 

From people’s first recollections of Mona, it is clear that she is regarded as somewhat of a phenomenon. The way they talk about her, with equal parts confusion and fascination, makes it seem as though the goddess Venus herself descended from the heavens and lived for a time, at once  incomprehensible and seemingly inconsequential, among us lowly mortals. It is learned that she touched so many lives, whether she meant to or not, and as she floated from town to town with her trusty backpack, she unwittingly affected those around her with her devil-may-care attitude. Vagabond is a story of a particular kind of have-not, and its exploration of female homelessness hasn’t been portrayed in quite the same way before.

Mona (played by Sandrine Bonnaire), unkempt and unbridled, is a representation of many things. It has been said that Botticelli’s The Birth of Venus offers two interpretations of the goddess of love and beauty: That she was an earthly goddess who aroused humans to physical love, or one who inspired intellectual love in them (x). Vagabond offers both interpretations with the character of Mona, who fits this description to a T. She is at once alluring to the men who pass her by, and at the same time extremely confounding to those who try to understand her. In a way, this is Varda’s attempt to explore the feminine mystique, and to assert that women are complex creatures, capable of a voracity that is so often mistaken for hysteria. Society seems to want so badly to put women in a simple, pretty box that is easy to understand and devoid of multiple interpretations. This is especially clear in a scene where a man describes Mona as revolting, as she stumbles drunk and disoriented around a train station. A woman should not be acting this way, it seems. She should not be sleeping outdoors, either, and least of all by choice. One elderly woman chalks the whole situation up to Mona simply being unable to find a suitable husband.

And therein lies the subtle social commentary that makes Vagabond so interesting. The whole story is an enigma to its characters and the audience because it is so unusual. There are countless stories of male vagabonds, journeying across countries and continents in search of their raison d'être. Where are the stories for women? Do they not exist, or at least exist in fewer quantities or prominence, because society believes women do not have such existential crises? Are our lives simpler because if patriarchal society is to believed, all we have to do is pop out babies and the rest are just meaningless details? For instance, in one scene, a woman named Yolande expresses her frustration at the passionless relationship she and her boyfriend have. Her boyfriend Paulo just thinks she’s being hysterical, but the woman is yearning for fire, excitement, for something other than what this man has in mind for them. Dismissing female wants and desires as trivial has been the motif of many stories, and Vagabond challenges these ideas with a character who exists without much regard for the pressures society puts on her as a woman. And it’s frightening, especially for the men Mona encounters, to be so inexplicable. “Do I scare you?” Mona asks a bespectacled man who seems troubled by her wild, untamed hair. The truth is, her physical non-conformity is the least of his worries. It’s her refusal to allow herself to be categorized in an easily digestible manner that perturbs him.

Mona Bergeron is a complex character precisely because she’s hard to box in. The people she encounters during her travels are afraid of the absolute freedom she represents - freedom from rules, relationships and the romantic ideas that some people have about living on the road. Mona is no hippie flower child. She’s not adorned in flowing maxi dresses with daises in her hair, throwing peace signs about. She’s lived a life on the road for reasons she has chosen not to reveal, a secrecy that makes her character even more intriguing. The audience is never told of her background; in fact, Mona is an unreliable protagonist because she states up front and quite flatly to those who interrogate her that she simply lies when asked about her history. There’s something liberating about a character like that. Normally a character’s lack of back story would repel audiences because of our inherent need to comprehend. Yet Varda makes this work in Vagabond because Mona’s experiences serve as a mirror for society, and not necessarily a contribution to a character study. Varda has accomplished something amazing with Vagabond. She has managed to allow audiences a window into this brief life of an aimless wanderer, who actually turns out to be a means with which we can discuss issues of conformity and femininity.

“It seems to me she came from the sea,” one woman recalls of Mona, again bringing forth parallels between the young protagonist and Botticelli’s Venus. The comparison is quite poignant and fitting. At the end of the day, whether Mona was the goddess Venus or not is insignificant, because all she ever wanted to do was be left to her own devices. To exist and not be judged for the choices she makes, may these choices be chain-smoking or refusing to bathe. Art aficionados and historians will always debate true interpretations of The Birth of Venus, just as we continue to argue about women’s place in a modern society. But maybe Venus just is, just as Mona just is - both women, and women can’t be put in boxes. To borrow the title of a Jean-Luc Godard film, “une femme est une femme” - a woman is a woman. And as Mona emphatically says in the film, sometimes “C'est ça!” - “That’s it!” No explanation, no elaborate or fantastic back story. And it should be good enough.  

Sign Me Up

Description: Things happen unexpectedly, things you don’t sign up for. Like random coffee dates or car explosions. You know, the usual. But that’s just the tip of the iceberg-no one ever expects to suddenly lose their hearing. Especially Phil Lester, a very successful hearing YouTuber.

Length: 3936

Warnings: Car explosions, brief hospital visit, deafness and sign language (if I forgot to tag something please let me know and I will update it asap)

Notes: So this is a lot like my Blind!Dan AU Love Is Blind, but with Phil being deaf and sign language! You guys liked the blindness realism and since I’m actually in ASL, I hope this one is even better!:) Let me know what you think and if you have a minute check out some sign language! It’s a very fun, beautiful, and useful language:)

Enjoy!

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Notes From Japan | 3/3/2015

Packed inside of a car with nothing but my camera and two beers, we head west to the sea.

 I was told that the clouds left Kyushu the day I arrived. In the late summers air, nothing felt like the salt kissed breeze. Nothing smelled like the sea. 

For weeks I lived on borrowed time and the notion that running from my problems would help keep me sane. Fueled by traditions and customs foreign to me, there was something puzzling about the simplicity here.

I made beds on floors and trains and tucked away in a capsule. With every night came a dream of destruction and growth.

I felt uneasy on the train back to the city. A bag full of sake and a head full of meaningless details carry me to sleep. In Hiroshima I had one for the things forgotten and the toxic air. I was explosive and wired. I was devastated and barren.

Now this wasteland bustles with life. Each alleyway and street a vein and artery.

I felt delicate, like the disintegrating tower or an atom spilt in two.  

Jordan Alan Brown