mixing it up in the world

tillthedawnbreaks  asked:

Hey there! I was wondering about how you like the TOG series. I was planning to read it so I looked up some reviews and they were so mixed? And a good number were negative. They said that the main character was cliche and shallow and didn't live up to the badass assassin premise. Others said the plot and the world wasn't interesting enough. What do you think? Cuz I really want to read it! I'm in love with the ACOWAR series but if TOG isn't good then I don't want to waste my time. TYSM!

I think that if you dislike something you are more likely to post a review about it, and I think people like sharing negative opinions. I happen to adore Throne of Glass, and I prefer it to ACOTAR actually. Celaena Sardothien, who is the main character is my favourite character of all time. Her vanity is part of her being a flawed character, but I wouldn’t even classify it as a flaw tbh. 

Woman are told not to find themselves attractive and if they do then they are shallow and vain. Celaena knows that she is pretty and isn’t shy about her confidence, and she is quite charming and cheeky about it, I think we all need role models who are comfortable in their own skin, like that’s amazing and there is too little of it. I personally am sick to death of the Plain-Jane, Clumsy, Dull™ female characters that are obviously not those things that have just saturated YA literature. Celaena is a breath of fresh air from that and her growth as a character is amazing almost a complete 180.

Also I’d say that the people writing those reviews didn’t read passed book 2. It’s the same jump in how interesting the story gets as there was between ACOTAR and ACOMAF.

tillthedawnbreaks  asked:

Hey there! I was wondering, have you read the throne of Glass series? I was planning to read it so I looked up some reviews and they were so mixed? And a good number were negative. They said that the main character was cliche and shallow and didn't live up to the badass assassin premise. Others said the plot and the world wasn't interesting enough. What do you think? Cuz I really want to read it! I'm in love with the ACOWAR series but if TOG isn't good then I don't want to waste my time. TYSM!

See my entire blog. 

anonymous asked:

Hey there! I was wondering, have you read the throne of Glass series? I was planning to read it so I looked up some reviews and they were so mixed? And a good number were negative. They said that the main character was cliche and shallow and didn't live up to the badass assassin premise. Others said the plot and the world wasn't interesting enough. What do you think? Cuz I really want to read it! I'm in love with the ACOWAR series but if TOG isn't good then I don't want to waste my time. TYSM!

Hey there! I HAVE read the TOG series and I really loved it.

I can certainly understand the mixed reviews. Personally I felt a bit let down at the end of the first book and I still had a lot of questions about where this story was going. But like ACOTAR, just keep reading and everything will blow your freaking mind! 

Crown of Midnight was much better, but Heir of Fire is where the series really takes off and it just gets better and better from there (imo).

If you loved ACOTAR, I think it is worth a read. I know of a lot of people who prefer TOG to ACOTAR (though I am not one of them), so it is really about your preferences. 

anonymous asked:

Hi I was just wondering what gwyns favorite sweets/desserts in the fae world are i remember you answering me a few years ago when i asked about the best of broken resolutions with Australian sweets and just sweets for human gwyn but i'm just curious what sweets deserts are in the fae world. x thankyou i hope you feel okay and don't run out of spoons x

Gwyn tends to prefer sweets from the human world because they’re often so packed with like, a ridiculous amount of sugar and fat.

But he loves things that are just really sweet. Sponge cakes slathered with icecream and well decorated, straight up marzipan, just about anything that is like pure sugar masquerading as something else (100s and 1000s, jubes, poprocks etc.) I mean Gwyn would drink straight squash/cordial powder mix if he knew it existed (he doesn’t).

In the fae world, flavour tends to be privileged over straight up sugar. Gwyn can appreciate fine craftsmanship, but it wouldn’t be his preference if someone asked. (Gwyn sort of prefers the meat of the fae world, and the sugar in the human world).

As for what sweets are in the fae world, that pretty much stretches as far as your imagination can go. I mean there’s Mages of flavour and food, and we’ve already established (in The Drawn Bead I think) that certain fruits can be evocative of feelings as well as flavours. There are cakes that aren’t just about tasting like a pure lemon, but also reminding people of the coming of spring, but concentrated, in a single slice.

Gwyn’s more like ‘fuck that shit give me the whole cake I don’t want to feel spring I just want the sugar.’

10

Jellybots started as a number of character designs back in 2011- (which started as an attempt to prove to a friend that Beard Holograms are a sweet idea) then some more designs, and eventually a mini comic and a longer comic pitch (very just *almost* a series of GNs) and persistent dreams about wanting to do something bold and colorful and sci-fi/fantasy about growing up and mixing in major personal influences in a very particular sort of way that haven’t left me alone (despite never feeling like I have enough time or followthrough to do it justice). A quick googling should fill in some of the details but suffice it to to say: Jbots is my little personal project about kids and monsters, and a story world I’ve been taking trips to for years. Most characters are based, if loosely, on my irl friends. #DailyJellyJam is a month long attempt to take some of my own advice: one push-up is better than no push-ups! And a little bit of dreaming a day is better than no dreaming at all. So, at the suggestion of @erkshnrt, I’m making time to do some low-stakes worldbuilding at the glacial pace of no money, and I sincerely hope you guys are enjoying it! :)) Above is a sampling of some of the work that’s come together across the last few years- it’s all evolving and much is outdated and likely to be revised, but hopefully it gives you more of a sense of The Thing, or at least how gelatinous sausage gets made ;) new art momentarily!

Daily updates and process videos on Instragram:
https://www.instagram.com/nicholaskole/

How To Blend Cultures (Without Making Impossible Mixes)

This is a guide specifically about fantasy worldbuilding. WWC gets a lot of questions around “I’m mixing two cultures together, how do I do that?” and this is to explain both how to do that and when you very much should not.

For starters, you should avoid blending empires with their surrounding properties, especially if there is recent political strife along those lines. This is why Japan/China/Korea (or even China/Tibet) mixes should not be done. For more information on that, take a look at Research:Large to Small Scale, Avoiding Homogenizing East Asian Cultures, & Paralleling Regions Appropriately.

Next up, mixing Greece/Rome with far-flung cultures gets a little bit eyebrow raising. Unless it was a direct trading partner/conquered property, Greek/Roman cultures do not mix with non-European cultures. The Greek empire only went to the Northern regions of India at its very peak, and that is limited to the ancient world. Rome stopped in the Middle East, so, again, you don’t have the cultural backing for a mixing of anything outside of its borders. 

Depictions of Rome and Greece in ancient literature shows other ancient cultures found them quite backwards, and were adverse to mixing with them. By many standards they were very backwards, and it’s only Europe (and, as an extension, America) that revered them to the extent they do. Asia and Africa had no reason to see them as advanced, because they made many more technological advancements than either. North America and Oceanic cultures hardly interacted with either, and had both their own technological advancements+ cultures closer by to borrow advancements from, instead. 

Outside of that, cultures are born out of the environments that made them. As a result, places with wildly dissimilar climates and resources pools will not be able to blend harmoniously unless you’re taking a modern analogue society where globalism has happened. This is plain old because resources only travel so far, and people are more likely to build culture around resources they have easy access to (even well-established trade links can lead to people re-creating things: Han purple and Egyptian blue point to an ancient trade link, but they were made with local materials processed differently).

Roman architecture exists because the Romans had access to copious amounts of concrete materials/marble and lived in the Mediterranean, which got very hot summers, heavy rains, and not a whole lot of cold. As a result they created structures that worked for this, which included open airways, pillars, easy to clean floors, shade, and ventilation. Places that lack these resources will not be able to replicate Rome.

Their resource pool was very specific to their regions, and there’s a reason Rome had the rule that anybody who did’t live like Romans were slaves: it was really hard to live like a Roman, and they wanted their slave pool as large as possible. 

Different cultures with different resources formed in wildly different ways, and might not even have anything similar to Greece or Rome. Because of this, you need to look really close at why culture developed the way it did. If it’s because they had extremely dissimilar resources pools, it’s wise to not blend the cultures (or at least not think they’ll look anything like their original cultures) 

Which brings me to value systems. Cultures put value on different things. Each culture ends up with a base philosophy for what they esteem and how they use resources, which proceeds to influence how it develops. Architecture has meaning to it. So does what colours you use in different applications. Because these things are sacred and/or practical for certain social orders. “Sacred” in cultures ends up becoming a shorthand for “this ritual helps us survive.”

There is no such thing as “aesthetic” when you get down to the root of each single item, because that aesthetic has a practical purpose. There is also no such thing as a “solely religious reason” under the same logic. Cows have become sacred in most varieties of Hinduism— because cows (and oxen) have been the main farming animal in the Indian subcontinent for millennia. They provide milk for sustenance, power for ploughing fields, and dung, which can be used as a floor polish and, when dried, a source of fuel for fire that gives off a more even heat than wood. As a single provider for crucial elements of agrarian life, their sacredness developed from their practicality. Having cows roam freely meant absolutely everyone could have access to an efficient cooking fuel.

Chinese brush painting has meaning. Jade sculpture has meaning. Pagodas and sloped roofs and gates have meaning. The philosophy, environment, history, and present circumstances of a culture is built into every. single. little. thing. about that culture, meaning you cannot just change it out.

Unless you learn the very root of culture, their values and stigmas and honours and shames, you cannot modify it accurately. Cultures survive because that was the best way to respond to the world at the time. A long-standing culture such as China’s has to be functional and incredibly well suited for the environment, otherwise it would not have survived. There is something about Chinese culture that works extraordinarily well for it to perpetuate itself, and you cannot disrespect that.

Learn the “why” of culture. Learn how it came to manifest and the reasons behind its manifestations. Study the geography and resources available to the people at hand. Know a culture so well you can explain how it works in real life and how your world’s history parallels the circumstances that created a similar culture in fantasy.

Only then will you be able to pull it off with respect.

~ Mod Lesya

do you ever just think about how wild star wars are politically.

  • like, there is the neoliberalism of the old republic, with the textbook neo-marxist core-periphery model of the greater galaxy. 
  • then there are the jedi, which are an enormously ancient and powerful institution that benefits from and enables the republican-corporate structure, but refuses to take direct involvement in its policy, 
  • this leaves an enormous power vacuum which is happily filled by the super secret red glowstick cult of the sith. 
  • and then dooku drags the jedi from his weird neoreactionary hereditary aristocracy ground, which is still somehow more refreshing. 
  • same thing goes for the separatist confederacy, which is mostly a network of megacorporations and planets dependent upon them, which are somehow a less stiffening alternative for many.
  • and then there is grievous, ventress and others from worlds existing outside the dominant framework of republican politics, but ravaged by capitalism and conflict and stripped of an identity beyond their utility, becoming the eventual wildcards. 
  • the entire worlds like mandalore, powerful and prominent enough to be of weight on the galactic scene, but ultimately uninterested in the galactic politics as framed by the republic, because their domestic problems are more pressing. 
  • what ever the hell is going on in the hutt space and underworld, raw capitalism functioning outside the state system
  • then there is the extremely militarized administrative structure of the empire, which drives itself to autocanibalistic destruction trying to keep all of the above under control.
  • pockets of limited autonomy exist under the empire, mostly in places whose established hierarchical administrative system allows for easier management.
  • the super secret red glowstick cult of the sith becomes even more secret, as things do within the mechanism of authoritarian states, which creates another vacuum, as their power is not backed up by ideological representation.
  • our beloved farmboy goes to pick up some power converters from the toshi station, and stumbles upon the said ideological vacuum with a blue glowstick in his hand. 
  • the rebel alliance, which is the oddest mix of generational royalty unhappy with the empire taking over the power they have over their individual planets, and straight up space anarchists from the worlds previously disfranchised by the republic and bombed by the empire.
  • the rebels politicize the jedi teaching as the core of old republican values, going off them as their platform (may the force be with you), even as the old jedi order pointedly stayed away from policymaking. 
  • the sequel trilogy, which refuses to address any of this. 
Steven's not Cookie Cat, Lars is

Lars being killed, then resurrected and turned into the same magical being that lion is has been hinted at since the very first episode of Steven Universe. It’s been in front of our eyes this whole time.

Lets first look at the Lyrics for cookie cat and analyze it:

Oh, he’s a frozen treat with an all new taste

Cause he came to this planet from outer space

Lars attitude completely changed once he was on the ship, and on homeworld. From admitting his cowardly ways, to standing up for himself, protecting his friends, and showing his appreciation for everything he didn’t appreciate before. “Frozen treat with an all new taste” symbolizing his cold attitude before, with who he is now.

“A refugee of an interstellar world

But now he’s at your local grocery store”

A refugee is defined as a person who has been forced to leave their home. Lars was taken from his home, unlike Steven who surrendered himself.

Cookie Cat

He’s a pet for your tummy

Cookie Cat

He’s super duper yummy

Cookie Cat

He left his family behind

Cookie Caaat!

“He left his family behind”, yes both Steven and Lars did leave their families behind. But Lars didn’t willingly leave his family behind like Steven did. Steven left his family behind to protect them. Steven probably feels a great satisfaction knowing that he’s not the cause for his family’s danger anymore. Lars probably feels more torn, and upset by leaving his family behind. A family he didn’t appreciate before. Also Lars seems to feel guilt for leaving Sadie behind when he could have protected her. So I feel this applies more to Lars then steven.

Now lets look at the first ever scene in the series:

the scene starts off with Steven yelling no! And his dramatic reaction to the loss of his beloved Cookie Cat ice cream.

then proceeds to Steven being in denial claiming that it “has to be a dream”. So why so dramatic over ice cream? Because it’s not about ice cream. The scene symbolizes lars’s death in the recent episode off colors.

Steven calls out for Lars.

holds him, and continues to mourn for the loss of his Cookie Cat. So why hold Lars? Someone who obviously is busy stocking, and clearly rejects his affections. It’s because Steven holding him tightly hints at the recent events that just unfolded in the previous released episode.

Then the next frame Lars addresses that cookie cats have been replaced with Lion lickers. I believe this hints at Lars (Cookie Cat) changing into the same magical being that lion is (being represented as Lion Lickers)

I’d like to point out in the next frame that Lars describes cookie cats as “wimpy” which is particularly odd that he chose that adjective to describe cookie cats. He could have said stupid, lame, gross, etc. any typical insult. He chose “wimpy” how does Lars see himself? Lars does not view himself in very positive ways. He does see himself as a coward, scared, everything that a wimp is.

Lars continues to say “why don’t you make some with your “magic belly button”. Which I also find odd to some extent. Being that we needed to address Steven, and his gem origin at some point in the episode, but why would Lars address it in that way? Why is Lars the first to address Steven’s gem, and gem abilities? Not someone else? Someone with better understanding of gems? I might be reading a little bit into this, but I think this is foreshadowing Steven healing Lars much like Lars is claiming that Steven heals Cookie Cat, and bring cookie cat back with his “magic belly button”. Much like Steven does with Lars. Reviving Lars after he died with his magical healing powers.

Next Steven describes cookie cat as having a crunchy exterior, which sounds like who? Lars pretends to be tough, and have a rough exterior to impress people like the cool kids. Which also goes into his style. His tough-looking graphic tees, his edgy haircut, even his gauges. I believe he does all of this to make him look tough. So that he can “fit in” and look cool to the cool kids.

Then Steven describes cookie cat have a creamy inside. Much like Lars who plays it off like he’s this cool tough guy, but inside he’s this soft, pampered kid with a loving family, who loves to bake. Who has genuine feelings that he tries to hide for people. Who cares, and has more bottled up emotions than anyone could have figured.

Then Steven brings it back to mourning of his cookie cat. Claiming that cookie cat was “too good for this world”. Why so much emphasis on the loss of cookie cat? Why so dramatic? Why make it seem so literal for the death of cookie cat? It’s because cookie cat is really just Lars.

Also id like to point out cookie cats mixed colored eyes. Something about that reminds me of Lars’s scar over his eye.

I still can’t get my head around how many millions of people will be watching One Love Manchester its so amazing to see the world unite against something that is attempting to mess this beautiful world up !! 

Sci-Fantasy and Technomancy

Creating a world where magic and technology co-exist

Mixing science fiction and magic can be tricky; if everyone in the world is capable of teleporting anywhere at anytime, it probably won’t make much sense for people to own cars, for example. Blending these two forces leads to countless exciting possibilities, but it can also end up creating some inconsistencies that your audience will pick up on if you don’t think things through well.

I have several tips and things you should think about if you want to build a world that mixes sci-fi and fantasy. Ultimately how detailed you get with it is up to you; maybe you want to plot out ever single tiny aspect of how your world works, or maybe you just want to have robot dragons and to hell with whoever disagrees! It’s a story of your making; if you and your audience are having fun with it, that’s what I consider most important.

Either way, here’s some things to think about!

- Of course, it helps to start off with the usual integral factors that tend to define societies; things like geography, language, religion, laws, agriculture, philosophy, etc. Before you even start throwing magic/tech into the mix, what does your world look like? What does it sound like? What does it taste like??

- How does magic work in your world? Is it a gift only available to a select few, or can pretty much any Average Joe summon a fireball? Are all mages Clerics (with magic derived from a powerful entity), Wizards (with magic learned from studying), Sorcerers (with magic just as an innate trait), or a mixture of these (and other?) things? 

- How does technology (generally) work in your world? How widely available is it? How well is it understood? What level is it at; are there nanobots in everyone’s bloodstreams, or is a bronze sword considered “high technology”? 

- How well do magic and technology (generally) mix in your world? Are they both just two different tools for solving problems, or opposed forces? Can one be used to study the other? Can someone be an expert on both things? What problems have been solved (and created) from blending the two?

- Are either things taboo? How much social friction do either things cause? Is the use of one meant to be secret or forbidden? Why?

- Are tech-favoring people/societies generally on equal footing with magic-favoring ones? They don’t have to be! The world being skewed in one side’s favor could be a great source of conflict! 

- What can only be done with magic? What can only be done with technology? Consider the limitations of both forces in the world. Does one force typically work better in some or most ways than the other? What things simply can’t be replicated by one side? 

- Consider how advanced each side is. What methods of communication, transportation, education, fuel consumption, medical care, etc are available to magic-favoring societies and which ones are available to tech-favoring societies? One side may not be exclusively better than the other; a tech-favoring society might have much faster land transportation in the form of huge cars, but a magic-favoring one might be able to magically tame huge creatures that can walk on walls and reach places tech can’t easily get to. 

- (When it can,) how does magic solve the same problems as tech and vice versa? A magical stone of far-speech can fill the magic-equivalent role of a phone, for example. A manufactured chemical packet could function like a certain spell. Of course, if one side’s method is so ubiquitous and accessible, it’s more likely that all people’s will favor it. 

- On the other hand, the different perspectives will likely produce entirely different problems and methods of solving them. Beyond one side being unable to replicate certain things from another, they may not want to. Mages may have no interest in creating an internet analogue they instead have access to some great collective unconscious tech-favoring people can’t access. How might one describe these things to the other? This is where the real creative world-building comes in; not every problem should be solved by just having an equally viable magic or tech version of it. Different cultures will value things differently, and exploring that leads to lots of creative worldbuilding and conflict!

- Consider what divisions might exist within societies. There are always subdivisions within groups; not all mages are as powerful, knowledgeable, or experienced as one another. Some subgroups may think themselves superior in some way, and/or might look down upon others within their own circle for all kinds of reasons. No group is a hivemind (unless they literally are); groups are made up individuals! 

- Lastly (but possibly most importantly), DON’T GET TOO CAUGHT UP WITH HOW COOL YOUR WORLD IS! Consider exactly what information is relevant to the audience and what interesting ways you can show/explain it. Remember that the focus should generally remain on the characters; there’s nothing wrong with having lots of extra world-building details, but they can bog down the story in minutia if you get too off track! You can always explore and explain deeper lore in side material!

Okay but like the thing that Wonder Woman explores so beautifully is the root of the Diana-Bruce dynamic in BvS and Justice League. 

Like, listen. Steve Trevor taught her how to love, but he also taught her what being human meant, that they screw up some times, that they can be mean or cold or cruel but that mixed up with all that darkness they have love and a wish to do better and they are so much more and by the end of Wonder Woman she believes this fully. 

But then, how did we get to BvS’s disillusioned, distant, not-getting-involved Diana? She says it herself: she witnessed “a century of horrors”. She saw World War II just after stopping the first. She saw men throw the Atomic Bomb. She saw the cold war, Vietnam, terrorism. All of this. And heart broken, eventually, she walked away, because Steve is gone and maybe so is the humanity she believed in. 

So come BvS she tries to stay away. She really tries. And it’s only her commitment to helping and protecting innocents that brings her back because suddenly this isn’t a human-on-human conflict, it’s a motherfucking monster of godly proportions and okay maybe that she can deal with. Okay, she’ll put up with the boys and their dick-measuring contest. 

And it’s only in the end, when she’s standing next to Bruce after Clark’s funeral that everything changes. Because she just saw this two men put aside their differences to protect the world. She saw Clark give up his life to save everyone else. She saw Bruce radically change his views and accept he was wrong. 

And then, AND THEN, after seeing all this darkness in them —in humanity— comes this man full of darkness and pain, who is tired of being disappointed by humankind just as much as her, and he says: “men are still good.”

And THAT is the whole thing about her motto, about her core belief, about what learnt from Steve and what she so truly believed that she could defeat the god of war itself. And here is this man, a century later, reaffirming that belief, understanding her core without even meaning to. So she stays. And she works with him. And they form a league. 

It’s just so important to me that if you put Wonder Woman and BvS together and the opening and closing scene is related to Bruce helping her recover a part of herself she’d lost and helping her remember who she is and why she fights and i’m so emotional fuck fuck fuck

When I draw Khadgar, I’m mostly inspired by the books. And storywise, only by the books. But I like to add some visual details from the movie. To mix up things I like.

So I drew this version of Khadgar with his outfit from the movie cause I really wanted to draw it again. I think it looks really cute x//D I love his cloak, and I like how it looks without it too !

So yeah -w- ❤

90′s Rock Vocalists Cheat Sheet

If the words are slurred and the lyrics you can make out often don’t make sense, it’s Eddie Vedder (Pearl Jam).

If the words are slightly less slurred and it sounds like he’s trying to sing through a hangover and a mouth full of jagged marbles, it’s Kurt Cobain (Nirvana).

If it’s somehow monotone and soulful at the same time and the backup vocals sound like six of the same guy singing at once, it’s Layne Staley (Alice in Chains).

If it sounds kinda like a dark and spooky Disney villain but also kinda like the guy at the biker bar who might kill you, it’s Zakk Wylde (Black Label Society).

If it goes from melodic singing to throat-murdering screaming in the span of one word and sounds like he’s gonna kick the world’s ass, it’s Dave Grohl (Foo Fighters).

If it goes from melodic singing to throat-murdering screaming in the span of one word and sounds like the world has kicked his ass, it’s Chris Cornell (Soundgarden/Audioslave).

If it has the deep grittiness of Zakk Wylde, the slurring of Eddie Vedder, and lyrics that make you wonder if it’s about sex or murder or both, it’s Scott Weiland (Stone Temple Pilots). 


BONUS: If it sounds like an alien trying to mimic the patterns of human singing while sacrificing all semblance of lyrical meaning in favor of nonsensical rhyming, it’s Anthony Kiedis (Red Hot Chili Peppers) and he doesn’t really belong on this list because no one mixes him up with anything.

Control

Originally posted by margotskarsgard

Originally posted by puxlineel

Klaus x Reader

Summery: Klaus descoveres a terrified girl covered in blood with no memories beyond two names. (Y/N) (Y/L/N) and Theo Raeken


Peace. The rare treasure that Klaus had come to adore in the resent months. But the spell of silence of all but the crickets and the soft muttering of the family in the house behind him was broken by shark gasps for air in the distance.

He walked the length of the porch, frowning when the noise was joined by snapping of twigs and the stinging sound of branches and thorns pulling at skin. Elijah’s concerned words fell on deaf ears when Klaus stumbled forwards, as if he was tied to the end of a long line of string that was quickly dragging him towards whatever was in such distress it made panic rise through his body.

Keep reading

cold heart killer || stiles stilinski (smut)

word count: 6026

warnings: angst, smut, oral (both receiving)

author’s note: long time no post! so i’m back with a treat of both smut and angst! you’re welcome. i’m honestly not sure how i feel about this one, but i hope you all like it! 

pairing: stiles stilinski / reader

masterlist

coming soon

Nervous fingers drummed on the leather steering wheel as the thunder roared, grey clouds covering the bright California sun. Beacon Hills was due for a storm within the next couple days, but it seemed to be coming sooner than forecasted by the meteorologist on the nine o'clock news. Her car sped down the road to the high school, having gotten a cryptic message from none other than Theo Raeken. Theo was her lab partner for a science project and they would meet up at the school’s library when they worked together even if her boyfriend, Stiles Stilinski wasn’t a fan of the new addition to the small town they lived in.

Stiles was the only one who didn’t particularly trust Theo and it got on everyone’s nerves just a little bit. He’d never been as trusting as everyone else in the pack, even though some of them would have their doubts about people. Although, Stiles was a totally different story. He didn’t like anyone, he seemed to think the whole world was against him. It would take awhile for him to warm up meeting new people.

Earlier that day, a note was in her locker. Messy handwriting that she vaguely remembered was scribbled on the fold paper, her name in black ink. She unfolded the paper and read the message:

Keep reading

anonymous asked:

you know one of my favorite things of Life is strange is the soundtrack, i love that kind of music! can you recommend me a playlist or a fanmix please? btw your art is fantastic!

I love that kind of music too, anon. ^^ There are some great LiS inspired musicians like Koethe and Riley Hawke, if you haven’t heard their stuff before. (Also Max’s voice actress Hannah Telle released an album last year!)

Might not be exactly what you’re looking for, but I do keep a list of songs I’ve listened to to whilst drawing LiS fanart.. because everything I draw ends up with one specific song I’ve overplayed whilst working on it. So here’s a weird little playlist of those (b-but if anyone else has proper mix recs..?)

Message to Bears - You are a memory
Fink - Too Late
Wolf Larsen - If I Be Wrong
Julien Baker - Go Home
Sleeping at Last - Saturn
Lucius - Two of Us On The Run
Connor Youngblood - The Birds of Finland
Vancouver Sleep Clinic - Someone to Stay
The Irrepressibles - In This Shirt
Lights & Motion - As The World Goes Away
Blackbear - idfc
The National - Without Permission
Cigarettes After Sex - Nothing’s Gonna Hurt You Baby
Nothing But Thieves - If I Get High 
Arcade Fire - Dimensions
José González - Stay Alive
Angus & Julia Stone - Wherever You Are 
The Antlers - Putting the Dog to Sleep 
Hammock - Tornado Warning
Emmy The Great- Where is My Mind
SOKO - We Might Be Dead By Tomorrow

Clothes & Colours

Idk if anyone’s written this yet so..

Maybe it’s just my delusional Yousana shipping self, but I think that the clothing between these two really do mean a lot. 

Throughout the season, they wear black and white, sometimes clashing like:

Originally posted by mannentilminkardemomme

Originally posted by skamlifee

Sometimes matching:

Originally posted by 6pinky-winky

But notice that they are still the black and white colours, symbolizing how they haven’t really connected fully. Sana’s world is still pretty black and white up until this point.

Then there’s Maghrib:

Originally posted by kylos

*squeals*

I think what is important in Magribh is that they are both wearing grey, showing that Sana is blending her black and white world.

They are no longer clashing, or being too one sided of black or white, rather, they are mixing the colours. Sana is blending her world views because of Yousef, and him matching her only signifies that he is doing the same thing because her. 

Instead of her going to his side of the colour spectrum, or him coming to her side, they met halfway ❤️

I’m hoping that if we (please Julie) get another Sana pov clip in this last episode, we will see more colours, we will see more greys, indicating her shifting and possibly more enlightened (literally and metaphorically) perspective.