most complex character in the whole show

Rec Post: Natsume Yuujinchou

Okay guys i just…i love Natsume Yuujinchou/Natsume’s Book of Friends so much. SO MUCH. It has touched my heart SO DEEPLY and is now one of my top five anime, so i am making one of those overly long overenthusiastic rec posts with tons of gifs in an attempt to impart on you all why it is a thing you should watch.

Basic premise: A teenage boy, Natsume Takashi,  has the rare ability to see otherworldly beings (youkai), who range from violent and dangerous to relatively friendly, but are often very startling when they show up regardless. Natsume was orphaned at a young age and passed around among his relatives, who all considered him a liar and troublemaker because he claimed to see all these things they couldn’t. He often faced abuse and neglect from his guardians and bullying and alienation from his peers.

Natsume has at long last found a kind foster family to live with, but he’s having a very hard time adjusting to the idea that people care about him now and he struggles a lot with the trauma and scars his past has left him with. 

What’s more, he’s in inherited a strange book from his deceased grandmother, Natsume Reiko, who he discovers could also see youkai. She would often get in fights with youkai and win due to her strong spiritual power and cunning nature. After she won, she’d make the youkai sign their names in what she called her “book of friends” and bind them to her in servitude. Now Natsume has the power to control these youkai, which makes a lot of youkai want to kill him and steal the book from him.

Natsume decides he will give the youkai back their names and release them from their servitude. In the process, he learns a lot about his grandmother, himself and the youkai world in general.

His companion during these adventures is Madara, a poweful youkai who was sealed in a maneki-neko, or “lucky cat”, statue. Because of this, he takes the form of a very rotund cat most of the time, though his true and most powerful form is kinda wolf-like.

 However, he acts like a cat more than anything else, despite his protests to contrary. He can be seen eating a lot, lazing around, chasing grasshoppers and sunbathing. Natsume has therefore dubbed him “Nyanko-sensei”. Nyanko-sensei knew Natsume’s grandmother. He has a deal with Natsume that he’ll act as his bodyguard against violent youkai in exchange for getting whatever’s left of the book of friends when Natsume dies. He lives with Natsume as the family cat and the relationship between the two grows and deepens as the show goes on. 

Natsume Yuujinchou is a beautiful anime about healing from trauma, growing as a person and connecting with those around you. I’ve heard it described as “like a warm hug” and I can’t think of anything more accurate. I often feel like it helps me heal from my own wounds. The main character is a total sweetheart, most of the characters are lovely and the beauty of the world the show takes place in is astounding. There’s tension and conflict a plenty, as well as complexity, but the show is really mostly about growth and love. There’s absolutely no gross fanservice or tropey, shady bullshit to be found here. This anime is heartfelt, gentle and emotional in the best way. It starts a little slow and does keep up a very relaxed pace throughout, but I’m telling you, I have cried plenty and been moved deeply by it many times. 

The whole thing is available on Crunchyroll.

Now under the cut, some awesome gifs and pics demonstrating all the cool things you can expect from Natsume Yuujinchou:

Including: Beautiful imagery and animation:

Keep reading

I need to vent

TBH i really thought Tumblr would spontaneously burst into flames when Class came out because all the representation and diversity and the healthy canon gay couple that isn’t over-sexualized and completely platonic male/female friendships and the whole breaking stereotypes thing and realistic relationships with their parents and family and a kick-ass teacher lady who can make your gay heart melt with a single look and giving new actors a chance to shine and the whole bit that it was created by a gay man and a boy educating his girlfriend about his religion and the fact that the parents play a major role in the show and how there’s still room for growth and theories after the eight episodes and the cast is perfect and adorable and play their part beautifully and Katherine Kelly existing seriously she’s gorgeous and such a complex character and Quill’s interactions with Charlie are like the most interesting things on the show, but no, here we are, the same few blogs reblogging shit from each other and having to promote the show ourselves and practically beg the BBC to give us another season and sign petitions and all this shit.

Come on, guys, this show deserves better.

(Book) Jaime appreciation post (I)

After being extremely pissed at what D&D have done to Jaime in the show (especially after 7x03), here comes a post to remind everyone about that amazing character development that we should be witnessing since season 3. We really can’t understand what’s the whole point of stopping a redemption arc of one of the most interesting and complex characters of this story, a character you begin hating and despising but end up admiring and loving (for most people) because of the person he’s becoming/become. We think we’re gonna leave the ranting here because we had finally managed to (kind of) cool down since yesterday and we don’t want to get salty again.

So, here goes our appreciation/comparison post of (book) Jaime/Season 3 Jaime, showing the beginning of that redemption arc (when book Jaime and show Jaime still had something in common). Hope you enjoy it!

Part I:

Jaime ran his fingers through his hair. “Walton,” he said, “saddle the horses. I want to go back.”

“Back?” Steelshanks regarded him dubiously. He thinks I’ve gone mad. And perhaps I have. “I left something at Harrenhal.”

Jaime’s head jerked round at the sound of a distant roar, faint but ferocious. It echoed off the walls of Harrenhal, and the laughter swelled up like the sea.

All of a sudden, he knew what was happening. Have we come too late? His stomach did a lurch, and he slammed his spurs into his horse, galloping across the outer ward, beneath an arched stone bridge, around the  Wailing Tower, and through the Flowstone Yard.

They had her in the bear pit.

Brienne wore the same ill-fitting gown she’d worn to supper with Roose Bolton. No shield, no breastplate, no chainmail, not even boiled leather, only pink satin and Myrish lace. Maybe the goat thought she was more amusing when dressed as a woman. Half her gown was hanging off in tatters, and her left arm dripped blood where the bear had raked her.

At least they gave her a sword. The wench held it one-handed, moving sideways, trying to put some distance between her and the bear. That’s no good, the ring’s too small. She needed to attack, to make a quick end to it. Good steel was a match for any bear. But the wench seemed afraid to close. The Mummers showered her with insults and obscene suggestions. “This is none of our concern,” Steelshanks warned Jaime. “Lord Bolton said the wench was theirs, to do with as they liked.”
“Her name’s Brienne.”

“Pull her out of there.”

Bellowing in fury, the bear showed a mouth full of great yellow teeth, then fell back to all fours and went straight at Brienne. There’s your chance, Jaime thought. Strike! Now!

She moved around the pit, keeping the wall at her back. Too close. If the bear pins her by the wall…
The beast turned clumsily, too far and too fast. Quick as a cat, Brienne changed direction. There’s the wench I remember.

Where’s the blood? Then suddenly he understood. Jaime rounded on Hoat. “You gave her a tourney sword.”

“I’ll pay her bloody ransom. Gold, sapphires, whatever you want. Pull her out of there.”

“You want her? Go get her.”

So he did.

Jaime VI, ASOIAF A Storm of Swords by George R. R. Martin.

(A table of contents is available. This series will remain open for additional posts and the table of contents up-to-date as new posts are added.)

Part Four: Enriching the World Through Dialogue

We often think that world-building must be done through narration, that we only showcase our world and our world’s potential through the use of long paragraphs detailing the style of the carts and the architecture of the city, the clothing and hairstyles, and on and on with all the details our hearts desire. What we often forget is how tiring long paragraphs of these kinds of observations can be. Dialogue can be an extremely useful tool for introducing information about your world without feeling constrained to the narrative voice of the piece.

What’s normal and what’s not.

Have you ever been talking to someone and you mention a store you frequent or the flock of turkeys that forced you to stop on your way across town, and the other person gives you the blankest stare. Experiences across the world–even across town–are not the same (just to state the obvious for a minute). The variations found in everyone’s lives can become fantastic opportunities when you put two people from different places together because they will automatically be more likely to point out differences and ignore similarities.

Acknowledging things that are common vs. uncommon in a setting may not seem particularly important, but think of it this way: You’re writing a world entirely different than ours, which means that we can’t imagine all the things that are possible within this new world. How are we to know when something out of the ordinary presents itself to the characters unless the characters let us know? The way your characters talk about certain aspects of the world will help give the audience a better understanding of what normal life is like. To set up something scary and unnatural for the world, we need to know what the opposite looks like.

Remember that with movies, we can tell what the focus is and what the movie considers important by how much time is spent on/with it. Utilize the same concept to create the contrast of ordinary and extraordinary to help your audience easily make those distinctions. Of course, it’s not that you shouldn’t mention normal things at all, but that neither a full page conversation nor a full paragraph of description needs to be given to them. Draw attention to the extraordinary, coax it to the forefront.

Use dialogue to illustrate these little nuances. Have characters remark on things to each other and tell each other short stories that give the audience context. This is especially useful when you have a collection of character who aren’t from the same place. Regional variants on food, architecture, creatures, and customs give you great opportunities to build your world through quick moments between characters. “It’s strange to see all these grey horses. Most of ours are brown.” Even something as simple as this shows your audience that there’s more out there than what’s on-screen at the moment.

There are plenty of times when working these kinds of details into narration feel awkward. Remember that you have this other tool–dialogue–to utilize, too. Working it into conversation can work in a dynamic way not only building your world, but also your character. More on that another day.

Mechanics of the world.

When writing in worlds with some really complex systems like magic, or a very deeply developed set of cultures, religions, and all the rest that come with a whole new world, it can be very tempting to use our characters’ mouths to try to explain it to our readers. It’s a fantastic opportunity, especially when we’re able to put characters into a situation where they can ask, “Why? Why isn’t it working? Why did that happen? Why can’t we use that idea?” These platforms for information are so convenient, but without keeping a couple of things in mind when crafting these conversations, diary entries, letters, and other forms of communication, they can become info-dumps just as easily as narration can.

Keep voice in mind. Whether you’re trying to convey how something works through a written dialogue or a spoken one, your words are not actually yours. They belong to the character speaking them. Make sure you keep them in mind. You need to be using their vocabulary, their opinions, and most of all, their understanding of the world and how it functions. Just because we–as writers–know the very specific inner workings of why one magic works with another but doesn’t work with this other one doesn’t mean that your character does. Yes, it’s that very thing that enables us to set up these “why” scenarios, but it’s the same reason why answering those questions cannot and should not be a regurgitation of your planning notebook.

In a video game, we know the mechanics programmed into the server that allows for this or doesn’t allow for that, and we can explain it to each other, but our characters only know what they can see and observe through the technology available to them according to the time period of their story. Remember that. Remember that you can’t just have a character say, “I can’t cast that anymore today because I’m out of fifth level spells.” It needs to use words and an understanding of the world that are true to them, not true to us.

Lastly, with world mechanics and dialogue, keep it short, light, and in character. The more time you dwell on whatever it is you’re trying to explain, the more likely it will become uncharacteristic both for the speaking character and for the story’s tone. It’ll bog down a scene faster than a sinkhole in the road. Giving these kinds of world-building details are best done by showing the system in action rather than trying to explain it. Dialogue is the easy way out in this case. Challenge yourself to create scenarios that force your characters to use and showcase the abilities of the various systems in your world.

Next up: Character-building through dialogue!

Remember how I said I wrote an essay breaking down Tendou's character? Well here it is

So let’s talk about Tendou Satori. When he was first introduced, he was automatically deemed as a villain. Although, as the season commenced, bits and pieces of his back story were unveiled, revealing as to why he could be seen as malicious. Many people still portray him as such, although, he’s far from it. Tendou Satori is broken. He’s been hurt all his life up until high school. Tendou Satori is broken, but he’s brave, he’s shattered but he’s strong. Tendou Satori is arguably the most complex, enigmatic character in the whole show, and it’s about time someone cracked the enigma.

When Tendou Satori was in elementary school, presumably when he was nine or ten, he was bullied. Before the scene begins, you get a little visual of young Tendou. The audience can already infer what kind of child he was. Naturally, he’s awkward. He’s gangly, has wide eyes and a tired face, a bowl cut, and undeniably looks a little bit like a horror movie child, but you can’t help but love him, because any sensible person knows what this child is going through, if your first thoughts of him were negative. Riddle me this, how do you expect a nine year old child to react to someone more powerful than him referring to him as a monster? How do you expect a mere child to handle years of torment, years of being cast out of doing something he loves because of who he is? He breaks. This torment was the first shatter in Tendou’s heart, and by far, the largest fracture. Of course, it isn’t implied, not much is implied besides the fact that he is bullied, but we can infer that Tendou took this bullying rough. You can expect tears, and tantrums and trauma. To many, being cast out and bullied away from a sport or hobby would overall make said person hate said activity, but Tendou didn’t quite give up. It isn’t shown, but somehow, Tendou got his way into playing a match against his bullies and presumably, he won. Can you imagine Tendou Satori, the nine year old boy who has been bullied for so long, finally feeling a sliver of power? He knows the pain these people have put him through. The tears, the deprecation. The nine year old boy who was learning to hate himself far before he should ever start feeling any insecurity. To finally, finally see the slightest bit of pain in the tormentor’s eyes was enough to make up for all the pain that dwelled in his. He was happy, of course, who wouldn’t be? In that moment he knew what these kids would do, only because he’s done it so many times himself. They would go home, upset. They’d drop their bookbags by the door then storm to their bedroom and cry. They’d cry out the frustration, the embarrassment, the welled up hate. For Tendou, imagining other people finally experiencing relative torment was better than any apology. This is the first turning point in Tendou’s personality, that Guess Block of his. Tendou got a feeling of pride after this, and of course, naturally, he was going to hold onto the only thing that made him feel powerful. The Guess Block. The wonderful, magnificent move that would bring him to power. Right?

As Tendou moved onto middle school, it is evident that he has been accepted, but only in the slightest. During his last year, it shows that he has styled his hair differently. Automatically, its remorseful. His demons haven’t abandoned him, and to be accepted, Tendou tried to fix the only part of him that could be easily fixed, his hair. Although, fixing his hair doesn’t bring him to acceptance. He keeps the Guess Block close to him, after five years he still uses it as his crutch, and people don’t like it. A woman, presumably his coach, yells at him for it. Tendou tries to argue that it’s helping them score points, but she disagrees. This doesn’t get Tendou down, though. The Guess Block is the only thing he takes pride in, and like hell anyone is going to take that away from him. As his coach yells at him, he smiles. To him, there’s absolutely nothing wrong with this block, and because of it, the coach gets frustrated, and ends practice early. The episode then cuts to a scene of Tendou walking up to a storage closet. Inside, there are two other boys, his teammates, talking behind his back. The first thing they say is a blatant attack at his looks and personality. In that moment, you can see Tendou’s mood just drop. Unlike the Guess Block, there’s absolutely nothing about his body or mind that he can take pride in. That deep crack in his heart from when he was a kid shatters just a bit more. Now it wasn’t just complete strangers, bullies who he was trying to fit in with. These were his teammates, people he was supposed to get along with, work with, play with. Now that his own teammates were calling him that same taunting name ‘Monster’, Tendou feels more betrayed than before. The teammates continue, saying things such as how he doesn’t cooperate, and how practice “always ends early when Tendou’s around.” This was a jab at his Guess Block. Although his views of it didn’t change, you can see that later on, he was starting to get a bit insecure over the thing he loves most.

When Tendou applies for the Shiratorizawa volleyball team, his nerves are evident. After the whole incident in middle school, he had began to grow a bit wary of the Guess Block, although he’s still very confident. If he wasn’t confident, he wouldn't’ have put a suit and tie on, marched down to Washijou’s office and requested to be put on the team, but he did. He did because he was confident. During the meeting with Washijou, Tendou looks sullen talking about his Guess Block. For a moment, he expects an immediate rejection, although, when he’s greeted with acceptance, he’s shocked. There was a look in his eyes that scared me. In that very moment, dressed in uncharacteristic clothes and sweaty palms, his nervous gut roiling and walls that felt like they were going to close in on him, he felt free. This has probably been the first time in Tendou’s life that he had been accepted by someone outside of his family. He was not only being accepted for his Guess Block, but him. He was being accepted for Tendou Satori, the nine year old boy who couldn’t play volleyball because he looked like a monster, the fourteen year old boy who was stabbed in the back by his own teammates. He was being accepted for him. Can you imagine the wave of happiness that rushed over him? He hadn’t quit, he never gave up on this sport. Tendou Satori loves volleyball, and now, after fifteen years of never playing it with pure happiness, he finally will. Acceptance into Shiratorizawa was a giant plaster over all the wounds in his heart.

You can presume that Tendou continues his next three years of high school with happiness, although it’s evident his scars have yet to heal. Tendou is a beautiful person, he really is, despite his pent up persona of being a sadist. He wants nothing more than the happiness of other people. You can see this when he butts into Shirabu and Goshiki’s argument. He knows Shirabu is a confident, he should be, so his time praising him is limited. Goshiki, however, is somebody Tendou can read. Tendou sees himself in him, and although it’s subliminal, it speaks a lot. Tendou is fast to compliment not only Goshiki’s game technique, but his hair. Now, Goshiki has the same haircut as Tendou when he was a child, so naturally, it would tie to some bad memories. I think Tendou never really wanted to style his hair differently. If it were up to him, he would’ve kept it the same, he would’ve kept everything the same, really, but he had to change. He forced himself to change because he wanted to force his way into being accepted. Tendou doesn’t want Goshiki to end up in the same pit as he did. Tendou is going to be there to be the acceptance that Tendou never received. Other people on the team gently tease Goshiki for being so enthusiastic, but never once does Tendou put him down. If you look into Goshiki’s character he shows very positive signs when he’s being complimented, once even going as far as stating that he loves to have a fuss being made over him. Tendou never had that, so can you imagine the happiness he must feel seeing Goshiki feel proud over words he says? On this team, Tendou does feel a lot of acceptance. Him and Ushijima are good friends, amazing friends, at that, and thst can imply that Ushijima was Tendou’s first real friend. Despite the positive atmosphere Tendou is in, there’s one thing that still spikes his insecurity, his nickname. Although “Guess Monster” may seem badass, it isn’t to him. It enraged his everytime he hears it, although it isn’t shown. Its taking his rock, the Guess Block, and pairing it up with the very demise of his existence. It’s bittersweet. He likes to be recognized for the move he’s spent years perfecting, but when it’s tied to the very bane of his existence, it automatically becomes a negative term. Something inside Tendou is still very attached to that malicious child nostalgia. He becomes kind of a perfectionist. Although his Guess Block is either 0% or 120%, he always wants it to be at 120%. He feels as if it isn’t always perfect, isn’t always scoring points, he’s useless, even if it is one point. He was accepted on this team to score points, and if he can’t do that, he might as well be the awkward, nine year old boy standing on the side of the court, holding back tears while being called a monster. There are scenes in which Tendou says things that are familiar to me. I’ve been in situations like this where I try to play off my mistakes as a joke so people can look beyond them. The whole cry of, “I screwed up!” and trying to change the topic away from the move he guessed wrong are things I’ve done to mask my failures. I could tell you exactly what he’s feeling, embarrassment. It’s a cold sweat over his skin, his stomach tightens up and he hopes nobody, especially not his coach was paying attention. He wants people to forget he’s flawed, forget he can do any wrong. This cold sweat will keep breaking out until he redeems himself, until he’s back up at 120% again, and all images of deprecation subside.

After the final match with Karasuno ends, Tendou is seemingly calm, but he’s not. Tendou is a tempest, and enigma, somebody who’s built up so many walls to shelter his real emotions. He doesn’t want to be seen as vulnerable as he was back then. But he knows damn well the moment he gets home, he’ll break down into pieces. When Tendou says ‘Goodbye my paradise” this refers to many things. Firstly, it refers to the sport of volleyball itself. While stretching with Ushijima, Tendou tells the latter that he won’t be continuing volleyball after high school, and is going to leave that to Ushijima. In all honesty, the comment seems light hearted. This could be seen from the perspective that Tendou just doesn’t want to continue, that he doesn’t think he’ll be good enough for college, but that’s not it. Tendou Satori loves volleyball more than Ushijima, more than Hinata, more than Oikawa or Kageyama or anybody. To Tendou, volleyball is his entire life. The reason why Tendou has decided to drop volleyball is because he doesn’t want to dwell in that deep dark pit again. Shiratorizawa was Tendou’s safe haven, and inarguably the best three years of his life. Tendou doesn’t want to go back to vying to play volleyball or trying to be accepted all over again. He knows he won’t be as lucky with other teams as he was with Shiratorizawa. Tendou knows the moment he tries to get on other team, they’ll cast him out. Of course, he might have a title, people would definitely take him in, seeing that he was from the infamous Shiratorizawa boys volleyball team, but acceptance necessarily doesn’t mean acceptance. It would be like middle school all over again. The arguments with the coach, the hate behind his back. Tendou wants to leave volleyball with the wonderful experience he’s had at Shiratorizawa, and not another team that despises his very being. He wants to love volleyball for what he had, not what he tried to have. Volleyball at Shiratorizawa was his paradise, it was the place where he had first made friends, where he first was praised, where he first was able to play however he wanted, be whoever he wanted. “Farewell, my paradise” just shatters my heart. He’ll be going back into the real world, where people don’t accept him like people did at his school. The vacation is over for him. He’s bracing himself for the usual torments, the comments, the hate. Tendou, more than anyone, more than his pissed off coach, and sobbing Goshiki, despises this loss. That drop of the ball on his side of the court was the soft meding plaster that covered his wounds being ripped off fast and hard without warning. It stung.

Tendou Satori is an incredible character. He’s broken, beaten, bruised inside out, but until the very end, Tendou powers through it. Tendou Satori loves volleyball. He loves it through his pain, he loves it through his betrayal and begins to love it even more as his glory days arrive. Tendou, despite his portrayal as a sadistic, cold blooded villain, is soft. He’s human, he has more scars than anyone, and tries to mend these scars all he can. He’s absolutely incredible. He has a sadder story than everyone, even Tsukishima, Yamaguchi and Kageyama. He’s more powerful than everyone, even Hinata, Oikawa and Ushijima. He’s kinder than everyone, even Sugawara, Asahi and Akaashi. Tendou Satori is dirt caked and broken, but with polish, he’s ethereal.

Can everyone stop fucking hating on Keyleth for being angry about her situation?!

Marisha said during Talks Machina that Keyleth is literally living out her worst fear. She wakes up every morning knowing that Vax is on borrowed time, and while Vex knows this too, and Vex will be utterly, irreparably heartbroken when Vax goes back to the Raven Queen, at least she still has Percy to fall back on, Keyleth will be all alone. ALL ALONE. Assuming they don’t TPK, Keyleth will go back to her small village, the village that reminds her of her dead mother, and she will live a long life, while she slowly watches all her friends, and family die around her. She’s a level 18 Druid now which means she ages 1 year in every 10. Half elves live to be in their 100s, gnomes can live to be 300-500, Percy is a human, he’ll live to be 100 if he’s lucky, Grog is the same. Keyleth will literally have no one, she will outlive generations of her people. She will outlive the children and grandchildren of her party, assuming they have any. And remember while it’s been almost a month in our time since Vax was disintegrated, it’s been like three days in the universe. Keyleth is still struggling with the guilt of casting Foresight on Vax and thinking that he saw himself die, with getting him back when she was fighting her own beliefs to try and bring him back from nothing by herself, she’s met Gods that she has no faith in, and almost sacrificed her own strongly held beliefs that the Gods don’t give a shit in order to help her party. Vax and Keyleth had moved back to Zephra, she was leading, this entire thing was supposed to be a weekend trip for them, and now Vax won’t be coming back with her, now he will be somewhere that she can never reach him, now they don’t have time to just be together, to love each other, to get engaged or married, to elope, because they have a raging, obsessed psychopath with Godly powers to kill, they have to literally save the world, and they have to save the Gods too, prevent Vecna from passing through the Devine Gate. I would be angry too. Anyone would. And don’t assume she’s not happy that her friends are married, that they are in love, I’m sure she is. She’s just angry that she’ll never get to have that. That’s a completely justified feeling. She’s experiencing a very intense range of emotions in a short, concentrated time span and it can be hard to keep that under control. Keyleth is usually pretty calm until those she loves are threatened and then all bets are off, all Hell breaks loose. She set Sprigg’s house of fire because she was so pissed that VM presence there caused Vecna to find him after 35 years of hiding away. She literally couldn’t think through the rage she was feeling. That it wasn’t fair that people couldn’t just live, that this kind, gentle man was driven insane from his fear and his loneliness. SHE SEES HERSELF IN SPRIGG AND SHE IS FUCKING TERRIFIED THAT SHE’S CATCHING A GLIMPSE OF HER FUTURE. I think some people might have gotten distracted by Sprigg telling Scanlan that this is his future, because he’s a gnome, and he recognized himself in Scanlan. But pay attention to Marisha/Keyleth’s face the whole time Sprigg is talking. Because she knows that Sprigg is her future. That if she gets through this fight with Vecna she will live long enough to forget the names of the people she loves with all her heart, of the people she would die for, of the people that would die for her, of the love of her life, of her would have been sister, of her best friend, of the only people that will ever truly know everything she has gone through, everything she has experienced, every battle, every fight, every long night sitting vigil over a party member’s dead body. Don’t you remember Keyleth’s speech to Raishan? The anger in her voice, the power in her, she stood against Raishan, and she spit in her direction (metaphorically) because Raishan was the reason half of her civilization burned and died. Keyleth has that spark of anger in her, and I think it sits right under her heart at all times, Keyleth is tied to that anger, she keeps it under control, but the times she loses that control, the times she yells, and screams, and shows she’s angry, those are the times she does the most damage, those are the times she shows herself as a true leader, someone who can protect and serve, someone who should not be messed with. Sometimes the anger, that fire in her veins, it can burn out of control. She’s sad, she’s guilty, she’s tired, and stressed, and it’s hard to overcome that when she’s constantly being reminded of everything she’ll never get to have. I don’t understand why so many people jump to hate on Keyleth, jump to hate on Marisha. Keyleth is a deeply complex character who cares with her whole being about the world around her, who stops to talk to trees, who curls up in corners by fireplaces as a giant cat because she can, who turns herself into stone just so her friends will have something to beat up on, who continuously burns her highest level spells to get everybody where they need to go, who has literally saved the entire party from dying because of her power (re: breaking into the prison in Dis). Who still doesn’t know who she is, who still doesn’t believe in herself despite everything that she has accomplished, despite completing her Aramente, despite having the highest number of kills, despite leading her people, despite “passing through fire” as Kerrick said. She’s not being petty just because she’s angry that she’ll never get to be happy the way that everyone deserves to be happy, that she’ll never get to be loved the ways that she should be loved, that she’ll never get to have the life she’s dreamed of. How can anyone think she’s being petty? She’s heartbroken. She’s constantly on the verge of a breakdown, but she pushes through it because VM needs her, because the world needs her, and it is only when she is left alone with the person she trusts most in the entire world that she lets her emotions go, that she allows herself to cry for the love and life that she will lose no matter if they beat Vecna or not. 

The Problem With the “If it’s gay, it’s good.” Mentality.

Hello, various fandoms that will be seeing this.

While I focus on some specific fandoms and shows in this essay, rant, overanalysis, what have you, I believe that the concept is pretty far-reaching and overarching across the majority of the shows that this website freaks the fuck out over.

Gonna go out right here and establish that I’m panro-ace and male, so don’t worry, a “straightie” isn’t preaching to you about what LGBTQ+ representation should look like in media. (that is to say, though, that contrary to popular belief on here, it is possible for cishets to have the right idea about topics such as this.)

Anyway, on to what I want to talk about.

In recent months and going back to when I first joined Tumblr two and a half years ago, I’ve started noticing this disturbing trend with the types of media that we as fans consume. Particularly, those of us who are in the LBGTQ+ community.

Ask anyone who’s spent more than three seconds on here, and they can give you a seemingly endless list of shows that either fucked up representation (Steins;Gate, Rukako/Lukako specifically), baited representation, i.e. “queerbaiting” (Hetalia, Love Live Sunshine/School Idol Project), or killed off one of the two queer partners for “shock value” or some other bullshit reason (e.g. Clexa).

But then, here in late 2016, the year of Hell, we are suddenly graced with Yuri on Ice, the first mainstream anime in recent memory to have a canon gay couple in a non-BL or Yaoi setting. In other words, the first show to treat a homo pairing like a hetero one.

Naturally, we’ve exploded as a fanbase. People obsess over each screenshot pulled from the show, there’s a shipping web more complex than most ones created by spiders, and each Wednesday there’s so much YOI on my dash that sometimes I wonder how anything else is reblogged on those days. Hell, I even changed my URL the day of the reveal to celebrate. It’s a fantastic thing and that shouldn’t be overlooked.

However, it’s not all good. And I think that the popularity Yuri on Ice and shows like it, such as the aforementioned Love Live School Idol Project, Hetalia, even Hibike! Euphonium depending on who you ask (though if you ask me, I believe there’s been enough confirmation from the staff to say they’re canon, but another post for another time there) creates and sets a bad standard for representation in media as a whole.

It’s the standard of “If it’s gay, it’s good.”

We, as fandoms, have an extremely bad habit of completely ignoring a show’s flaws, shortcomings, or queerbaitings if we either 1) see our pairing become canon (Yuri on Ice) or if the show is bait-y enough that all fans have to do is connect a couple dots (NozoEli, ChikaRiko, in Love Live).

Yuri on Ice is being hailed as this masterpiece that can do no wrong, has perfect characters, a deep story, and gorgeous animation.

I’m here to say that that’s simply not the case, that we’ve been blinded by the greatness that is Viktuuri, and how dangerous that is for LGBTQ+ representation going forward.

Firstly, the characters, while not bad, are relatively one-dimensional, save for perhaps Yuuri and Viktor. There’s not much complexity to Yurio’s “tough on the outside, soft on the inside” facade, and the majority of the other side characters in the show could be described pretty vaguely. 

“The fanboy one from Thiland.”

“The hot guy people ship with Yurio”

“The one that looks like Pew-Die-Pie”

As for the animation, while I admire Mappa as a studio, and I think Zankyou no Terror/Terror in Resonance is one of the best animated shows ever, I think they really dropped the ball on Yuri on Ice.

I would ask that the only explanation that this point requires is for you all to take off your manservice glasses and look at how dopey most of the skating scenes are. If you want an ice skating scene, look up the one in Death Parade, a show by Studio Madhouse a year or two ago. (Honestly, please just go watch Death Parade, it’s such an underappriciated show as a whole)

The thing that really irks me, though, is when people say the story is this complex interweaving of perspectives and plot threads, when it’s really just a bunch of flashbacks through the lens of not one, but two whole characters, those being Yuuri and Viktor.

Think Yuri on Ice is a masterpiece for having two perspectives with flashbacks? Compare it to a show such as Durarara or Baccano. I’ve watched all the way through the former while I’m still working on the latter, so I’ll use it as an example.

Off the top of my head, I can think of twelve different perspectives that the show explores and fleshes out in twelve episodes (one more than YOI)

Namely, the perspectives of:

Shizuo Heiwajima, Izaya Orihara, Masaomi Kida, Mikado Ryuugamine, Simon the sushi dude, Celty Sturlenson, Shinra Kishitani, Anri Sonohara, Walker, Erica, Kyohei, and a fucking sentient sword.

All of those characters have well-established backstories, characters, and motivations after twelve episodes.

How many characters does Yuri on Ice flesh out to that extent? Yuri, Viktor, and Yurio.

I know what you’re thinking…at least I think I do- So, ok. Yuri on Ice isn’t as deep as the fandom says it is. Big whoop. Even still, the representation it so boldly carries with that makes up for all the shortcomings, right?

No. Representation does. not. equate. to quality.

And here’s why.

Since anime is my forte, I’ll be focusing on that, but again, this is applicable to all kinds of media Eastern, Western, or otherwise.

The single greatest motivating factor for any animation studio (or any company in general) to produce a show is how much money they can make on it. So naturally, they start looking for easily exploitable means to that end. One such means is the inability of fandoms such as ours to distinguish representation or baiting from quality.

Yuri on Ice is a now the standard for representation, but let’s be honest with ourselves, it’s kind of a shitty standard, at least compared to what it could be.

Like, think about it for a second– yeah, YOI is a fantastically entertaining show, but just imagine if you had a show that was, say, on the level of quality as some of the most critically acclaimed shows of all time with that sort of representation.

That’s a great thought, isn’t it?

Well until we as fandoms start to distinguish quality from representation, there will be very little opportunity, if any at all, for the quality of the media in which said representation takes place to grow.

I am sick and tired of scrolling through my dash to see text post, after fanfic, after comic, after whatever reducing either a canonically LGBTQ+ character or a character that’s commonly baited/implied/headcannoned as such be reduced to that and one other charactaristic.

Nozomi is gay and likes parfaits.

Eli is gay and is Russian.

Yuri is gay and likes Katsudon.

Rukako is trans and shy.

Umi is gay and has a stick up her ass.

Shizuo’s gay and strong.

You see where I’m going with this?

Like, I’m perfectly ok with joking around about these characters. That’s not what I’m talking about.

But when the prevailing works of media in a fandom are these stupid crack fics or fetishy artwork that’s justified under the context of the artist “exploring their sexuality” that do nothing to develop characters in meaningful ways, that’s a problem.

It’s a problem because the creators of mainstream media look at that and think that that’s all we as a community want– one-dimensional characters in easy-to-write shows that take no effort to create yet sell oodles of merchandise due to the fact that “it has gays in it.”

And you know what? It works. Because we as LGBTQ+ people are so starved of representation in the first place, we latch on to any representaton (or teasing thereof) that we see, even if it’s really shitty.

No. If something’s gay and cliche, than it’s still cliche and therefore as bad as something that’s straight and cliche. And until we get past the mentality that that’s not the case, we won’t see any drastic improvement in either the quality and/or quantity of good representation in media.

This post was created for the sole purpose of creating discussion and raising awareness to what I believe is a big issue. Please reply, reblog, send me an ask, whatever with your own opinion of things. I’d love to hear it.

See ya!

Okay, so I really hope that the writers of Supergirl haven’t actually watched Merlin.

I am currently rewatching Merlin and I just finished episode 3 of season 2, when Morgana realises she has magic after running to join the Druid’s. Once she returns to the castle, she and Merlin have a conversations and he is talking about Uther and his hatred of magic, and if anyone can get him to open his mind it’s Morgana. And she replies, “Maybe I can use it as a Force For Good”

Sound familiar?

Of course it does, because it’s the line Lena Luthor said in the first episode of season 2 of Supergirl. “I want to use L Corp as a Force for Good”

I’m hoping that these aren’t parallels and as amazing as Katie McGrath is at playing the villain (I mean Morgana was insanely complex), and I’m not doubting the fact that Lena herself would be an excellent villain if she had been written that way from the start. But as it is, Lena Luthor has proved herself to be good too many times for her to now become another typical ‘Luthor’. And in my opinion making her the 'bad guy’ at the end of season 2 is just lazy script writing.

Apart from Kara Danvers/Zor-El, Lena has the most complex and interesting back story and her character development could be huge if they write it well enough and don’t take the easy way out to gain viewers. (Lex and Clark was a shock because it was unexpected whereas this whole season has been about Lena being not another Luthor).

Not to mention her chemistry with Kara is off the charts, and as much as I ship Supercorp, their friendship is too good to ruin for the sake of a - not really a - plot twist. The reason the show works so well is that is is centered on the female relationships (I won’t mention Mon-El as much as I adore Chris Wood), and apart from Kara and Alex, Lena’s relationship with Kara and with Supergirl is one of my favourite parts of the season so far.

So yeah, I have no doubt that Katie would be incredible at portraying Lena as a villain, but it would be too much of a kick in the teeth for them to do that now she has proved herself as loyal and a friend to Kara (and Supergirl and National City for that matter) over and over again.

Lena Luthor is not Morgana Pendragon and I sincerely hope it doesn’t turn out that way.

ATLA/LOK fans: Comprehensive, full of understanding, and eager to share their works and love for this series. Praising both gorgeous animation and complex culture existing in that universe. Enjoyed together character growth and fresh storyline development with each memorable season. Both shows could be considered cult media in many ways, and will always be kept in many hearts as probably the best cartoons made by Nickelodeon ever.

VLD fans: Aggressive comments and harsh opinions about fictional pairings, calling some of them pedophilic (?); don’t even discuss plot or world settings as a whole. Most of them just enjoy making feel other fans sad and like to criticize both voice actors and the producers. With harsh discourses no one cares about, and ignorant opinions. Even if the show is actually enjoyable, this fandom mostly sucks now, BIG time.

  • What it sounds like explaining Lost to someone who doesn't understand: There's a plane crash, they are NOT dead the whole time, the island moves, uhhh characters are good
  • What it sounds like in your head: Lost is the most amazing and complex show. There are so many characters and plotlines and mysteries and they make you care about all of it. The backstories and character development is done well for every single one of the characters you feel like you really know them and their motivations and the "why" of it all.

anonymous asked:

do you know why so many people like / post about Vulpes? how did this begin?

This is honestly such a complicated question.

First of all, I have to say, that I, as a person who has never been a fan of Vulpes, can’t say for sure where this at times overwhelming love comes from (a love that has, admittedly, cooled down a bit over the years).

But the reason why this question is so complicated is that Vulpes is a character that keeps being interpreted in multiple ways, and everyone is 100% sure that their version of Vulpes is the right one, that they are the ones that actually manage to make him not OOC.

Remember the time where your dashboard was filled with sexy Vulpes art and numerous authors wrote smut fanfiction with him? Yeah, that’s one of the versions of Vulpes that the fandom has created.

In general, I think that the most common ones are 1) the dangerous, sexy lover Vulpes, 2) the calm, collected, smart and calculative Vulpes and 3) the insane, unpredictable but still very smart Vulpes.

And then there’s the fourth version that everyone is on board with, but that’s not what this question is about, I’m sure

But the other ones… It might sound weird, but I actually think that a big part of the reason why Vulpes is so popular is Jason Spisak’s voice.

All of the versions of Vulpes I listed - and maybe I am missing something but these are the ones I had to deal with - share one trait: danger. In all of them, Vulpes emits danger. The lover!Vulpes is self-expanatory. Actually, it feels like any other dangerous~ character could have been put in his place. It seems, it’s not even so much about him - he’s only a placeholder - it’s about the sexual phantasies behind him that all revolve around committing yourself to a unhealthy relationship, filled with power plays or even abuse. I think we all can agree that content like this exists and that people manage to cloud the problems connected to such relationships with steamy sex scenes and occasional fluff that is there to tell us something like: “hey, see? it’s all good, nothing to worry about”. Behind all of this, hopes of changing the man for the better seem to be shimmering through, which, actually, manages to bring the picture of an abusive relationship to its completion. This hope that the abusive partner is going to change for the better at some point and that he or she is actually not that bad of a person deep down but just needs help and compassion to bring it out - is a text-book case of an abusive relationship. Does that sound familiar to you? It sure does to me. 

The calm!Vulpes is often pictured as a person who is wholy devoted to Caesar, devoted to such an extent that he hardly knows how to have fun anymore (if he ever did), and dedicates his whole time to serving the Legion. He knows exactly what to do and how to do it, is focused, and I guess a bit of a fun-police kind of guy. He is like an expensive clockwork. You do not know what is going on in his head and how he ticks. You don’t know what he has planned next, only that he sure as hell has planned something. He is dangerous because of how unreadable and smart he is. He should be feared because he has all the ressources to get what he wants, always. I think that this interpretation of Vulpes gets quite out of hand sometimes because people begin to think that there is absolutely nothing Vulpes couldn’t do. Vulpes could probably convince Caesar to put himself on fire and throw himself off a cliff if he wanted, if fans are to be believed. Every kind of plotting and every kind of manipulation is automatically attributed to Vulpes, as if he is almighty - and the only one in the whole Legion who is capable of any kind of manipulation. Not only is this unnatural, it’s also bordering on a Marty Stu.

Then there is the maniac!Vulpes people seem to forget about in favor of the calm!Vulpes. I don’t know why, maybe it has something to do with wanting to relate to a character. It may also have something to do with the fact that the calm!Vulpes also has a bit more sex appeal than the guy we meet in Nipton after he burned the whole city and put peoples’ heads on stakes. It looks to me like the fandom willigly forgets about acts like these to preserve their love towards Vulpes. There needs to be some justification for this love.

Whereas calm!Vulpes is like a fine clockwork, maniac!Vulpes acts more like a ticking time bomb. You can never know what is going on in his head, just like with calm!Vulpes, but when you find out, it is going to be epic or grotesque. Danger is his second name, just as with the other two.

One of the versions of maniac!Vulpes is - yet again - the sexy beast maniac!Vulpes. It’s the Vulpes that is licking blood off his lips. It’s the Vulpes that is licking down blood from his Ripper. Death and blood are being mixed with sex, and this is the face of Vulpes fans create. Just like the other two versions of Vulpes, it is being hyperbolized, until there isn’t much left of the character people claim to love so much.

There’s one thing you have to give Vulpes - he’s intense.

Every meeting you have with him is intense, and the order you do your quests in, doesn’t really alter this fact. And yes, I do believe that the job Jason Spisak did as a voice actor is a big, big reason why Vulpes became so popular. This intensity? It comes from his voice. In a game with a limited engine such as New Vegas, a game where all NPC have a set of maybe a dozen movements and/or facial expressions when they speak to you, the voice is absolutely crucial in establishing a character and getting people to connect to them. Jason Spisak made the most of it and filled his voice with danger, seductiveness, a promise of more to come, ominousness… These things, in my opinion became the great asset of Vulpes’ popularity - and his ultimate downfall as a character.

He is constantly being reduced to one of the traits Jason managed to convey with his voice, and often enough it’s this sex appeal - which has, in my opinion, been the most disastrous side-effect of Jason’s great voice.

This post below sums up my thoughts perfectly, to be honest.

There’s the Vulpes we meet in the game. And there is the Vulpes that the fandom has created. These characters have little to do with each other. One thing this whole situation shows, is the fact that Vulpes is a highly complex character indeed if his appearance in New Vegas managed to spawn so many interpretations. But, alas, his complex nature is now almost completely lost and forgotten. I myself forgot abot it and started realizing how much the fanon!Vulpes clouded my vision only while writing this post.

I know that there are people who love him for exactly his complex personality, but this post is about the mainstream content.
Witty, not gritty: JK Rowling’s gentle TV detective is a return to the era of Morse | Television & radio | The Guardian

“What makes Strike an exceptional investigator is that he just works very hard,” says the show’s executive producer, Ruth Kenley-Letts. “He’s not like Sherlock – blessed with the ability to see everything. He’s a former soldier who lost a leg in Afghanistan and who had a difficult upbringing.

“He’s not magical. There’s something appealing about that. It makes a nice change to have a show where the crimes aren’t solved in a clever-dick way but because they put the effort in.”

Both Robin and Cormoran, in keeping with a more modern trend for complex, troubled characters, have secrets but this aspect of their characters is not integral to the storyline.

“One of the things I like about Cormoran as a detective is that he can have problems and still smile,” says Richards. “Because isn’t that what most of us would do?”

For Richards, the show’s whole appeal ultimately lies in that very ordinariness. “People have asked me what makes this different, and they always look a bit stunned when I say – well, nothing,” he says. “Cormoran has no clever quirks.

“He’s basically stuck in an office that’s a bit shit, and he’s a bit broke, and his leg sometimes really hurts but he doesn’t moan about it. Instead he works really hard and gets on with his job. There’s something admirable in that.”

purequeenoftheimpure  asked:

Hi! I really like your analysis of the lords, and I just wanted to ask if you had done one on Ieyasu? I've read fics about him, but really don't know much about him as I haven't done his MS, but I'm kinda curious as fics make him out to be kinda complex. What was he like in the sengoku era? What would he be like in modern times? What would his occupation in modern times be? Sorry if it's too long or bothersome :)

 THANK U I APPRECIATE… though sometimes i’m just rambling like no other out here LMFAOOO

Hm… Y’know, I mention Ieyasu a whole lot, but I don’t think I’ve actually done a proper analysis on him before–which is kind of a bummer, because he’s actually one of my favorites! The fics you’re reading have it right, and I’d argue he’s one of the most complex and layered characters in the game. He’s got quite a bit going on in that past of his and it shows really well that he’s basically a product of his experiences–cruel and distrusting because of the things he has gone through. Of course, that doesn’t excuse all of the horrible things that he does, but it does put a different perspective on the way he is and how that manifests in his personality as of now. He plays a very good villain, too, I’ll tell you that. I also think he’s one of the most consistently written characters, which I can appreciate like no other thank god.

Though while I’ll say he’s one of my favorites, and can also easily admit that he’s also a super polarizing character, too. People either really love him or really hate him, and I get both sides of that–so I think enjoyment of his route and character will really depend on your taste, too.

In terms of what he’s like in the Sengoku era… well, in real life, I’ve seen that he’s been said to have been bold and calculating, and was fairly well-known and respected for those traits. From what I know, he seems like a great warlord and politician–or well, he knew what he was doing, anyway LOL. Knew how to be loyal when necessary and very much waited to come into power… also could be cruel and merciless when he felt like it. A lot of fiction has habit of making him very kind and humble, though I have a feeling that stems from some Edo fanfiction too… (but don’t quote me on that LMAO). 

In the SLBP universe, Ieyasu’s… pretty nasty LMFAO. Easily takes on those cruel and merciless traits mentioned above, and he’s very two-faced all together. His cunning is pretty much unmatched, and he’ll smile his way through everything with every ounce of coldness you could possibly imagine–they even call him a “Lord with a Poison Smile” in game. Almost is as good with keeping up his sadistic streak as he is as kissing ass, and the ruse works well for him. And of course, he doesn’t trust anyone but his retainer, Sakai Tadatsugu, because the world has taught him it’s absolutely foolish. He’s bratty, intelligent, resourceful, and has the worst mouth on him, but you’ll quickly see more sides to him in his own route that execute his loyalty and desires for the softer things in life. MC, as per otome formula, will bring those things out herself LOL. 

Modern times I feel would depend on his upbringing, but since I think he’s more likely to have a more stable life with the average kind of home in modern society, he’d be a lot more toned down. Probably still A Huge Dick, but like… not outright cruel or, y’know, threatening your life all the time LMFAO. I also like to imagine Ieyasu having a better sense of humor here (since he can afford to have one) and though he doesn’t trust easily, he more so has this small, tight knit group of friends than anything else. Still ridiculously smart and resourceful–he would get into trouble all the time if anyone ever believed his Angel Face could cause any harm. I’d call it like… a much more lighthearted version of himself LOL. He’s still mean, though, because who would Ieyasu be at heart, otherwise?

I’ve said once before I could see him as a politician, but… I kind of think he’d be some kind of nerd in the science field. Probably chemistry. LOL

Here is a quote from one of the books, “Raphael seemed to him like Loki or some other trickster God, sometimes working for good and sometimes for evil, but always in his own interests.” This Raphael is totally different from the show one. The reason Raphael is pretty much my favorite character is because he is a trickster but never for himself, it’s always for his clan. And now his character has developed into so much more, he cares for everyone. He cares for the whole downworld and you can tell he cares for the clave too. He is hesitant to choose the downworld and he seems to be the only one who really understands that it’s a bad choice. I think he is one of the most complex characters. In the books you don’t realize how caring Raphael is until he dies for someone he loves (spoiler, but they haven’t been following the books), viewers can tell right away how caring Raphael is. In season 1 he wants to save his clan from breaking the accords and when Izzy almost fries his people he immediately pushes them back. In season 2 we learn about his family, his attachment to Isabelle, and his love for Magnus. He is such an amazing character.

CJ’s Novel Planning Guide

Nanowrimo is upon us, and we all know what that means. Frantically scribbling down words, trying to reach that all important word count. But just hitting the word count isn’t enough for a lot of us: we want those words to matter, to form at least part of a novel. As many of you are familiar, there are two basic categories that we put writers. “Planners” and “Pantsters.” A planner is someone (me) who has to fully plan out a piece before writing it. A pantster is someone who does no planning at all before sitting down at the blank page.

While I don’t discredit the value of pantsing, when it comes to longer pieces of fiction, I highly highly recommend some sort of planning. While it is possible to pants a whole novel length work, often times is it not only frustrating but it requires at least double the editing that a planned novel requires. I encourage you to at least try being a hybrid writer. Try to incorporate a little of both in your style. 

And here’s the great thing about the 10 step guide I’m going to show you. You can pick and choose the steps that work for you. You don’t have to do them all, and you don’t have to do them in order. And if you’re a pantster, you can do these steps as you go. But planning your piece immensely helps with creating deep, complex characters, a continuous and engaging plot, a rich and diverse world, and an intricate web of interesting subplots. You don’t even have to use this method. There are plenty of writing tools online that will help you with planning your novel. What I am going to show you is called the Snowflake method, originally coined by Randy Ingermason, but I’ve modified it a bit to be the most helpful to me. The best part is, if you do all these steps you will also have all the pieces for any type of Proposal an agent could request. 

Keep reading

I quit watching TWD after Glenn got killed off because that whole decision to do so was incredibly disrespectful bullshit to his character the overall storytelling integrity of the show, and his fans. He was my favorite character, and, in my opinion, the last one that actually made TWD feel worth staying emotionally invested enough to continue watching as a whole because he still had a profoundly hopeful, inspirational, emotionally complex, optimistic, dynamic, and relatable storyline that also still had so much unexplored potential for fresh things that I actually still looked forward to seeing in terms of backstory and development on this show. That’s something that I feel like most of the other main characters have lost at this point, and Maggie was totally sidelined, anyway.

I like Rick, Carl, and Michonne, too, Richonne is a cute couple, they are necessary for the overall plot of the show, but like I said before, they’ve kind of turned into static characters, who’s full development of character has been achieved to me at this point. Carol is boring, I can’t stand Daryl, and the other characters are too poorly written and/or underdeveloped for me to even care about at all.

Also, Negan is a shitty villain. I don’t mean that in the sense that he’s a terrible person, either. He’s the main villain. Of course, he’s going to be evil. I expect that, that’s the whole point of him being a major antagonist, and that’s not the problem with his character. The problem is that he’s a poorly written one-note villain, who Gimple and the writers clearly didn’t put any effort into creating for the show at all by humanizing, or toning down from his comic counterpart, like they did with the TV Governor.

Negan gets too much screen time as it already is, just about as much as Rick and Team Family, if not more, but what makes that even more unbearable is the fact that he’s not at all interesting in comparison to the Governor in S3 and S4 on the show. Hell, even Gareth and the cannibals were more humanized than Negan on the show, and I thought that was TWD jumping the shark back at the time…Boy, was I ever wrong…

Anyway, the Governor’s episodes never felt like they took away too much time from the overall plot with Team Family, and they always felt relevant because they gradually connected with each other, rather than just being thrust together for shock value all at once in one big mess. While I’m still very pissed off that the writers could give bottle episodes to every other AL5 member, two major antagonists, characters who were introduced much later on the show, and random red-shirt characters that we never saw after one or two episodes, but never to Glenn, who was one of the five core AL5 protagonists on the show from day one, the Governor’s episodes were always a treat for me to watch, and one of the biggest highlights of S3-4A for me that always kept me on the edge of my seat. It was not because Philip (the Governor) was a good or likable person, overall, but because he was an emotionally complex and well-written villain. His actor, David Morrissey, did such a fantastic job of bringing the character to life on screen. It was so fascinating to watch the writers psychically break the Governor down by deconstructing, reconstructing, and ultimately deconstructing his character again in his demise at the end of 4A.

Even though I mostly hated Philip Blake on the show, I also was fascinated by him, and I felt a bit sorry for him because I knew why he was a villain. I got to see him be broken down into someone worse than he started out as on the show, try to get better for a bit, and ultimately fail by reverting back to his old power-hungry, narcissistic, and sociopathic murderous ways that led to his ultimate demise. The Governor was actually a character with a story that had a worthy of being told on the show because he was there as more than just a presence of meaningless shock value that terrorized Rick and Team Family. The Governor contributed to the greater theme of being too far gone.

What is Negan’s greater purpose on the show beyond terrorizing Rick and Team Family and reeling in higher ratings by using him as a tool to create torture porn scenes and shock value death? He’s straight up evil just because he likes to be, as far as we know, and I don’t think he ever will be a complex villain on the show because Gimple and tptb aren’t even putting in minimal effort in terms of writing for characterization and storytelling anymore. I can’t love to hate Negan and appreciate him as a villain, like I did with the Governor. Rather, I hate to hate him because he’s not interesting to watch at all, and I wish that he never came into existence on the show, instead.

It’s all just cheap, cruelly manipulative, and meaningless ‘shock’ value gimmicks that are no longer shocking because the writers always kill off the most obvious characters for “shock” value to try and be dark and edgy. You know, they always kill off the incredibly kindhearted, loving, and selfless souls, who have everything to look forward to in their lives, who overcome every obstacle, who overcome every stereotype, and who, thus, are often POC, LGBTQ, elderly, mentally ill, disabled, etc. characters to try and create more of a tragic emotional impact from the audience, and/or to save Daryl, instead.

I’m almost positive that saving Daryl was at least one of the factors for AMC and Gimple’s decision to kill off Glenn on the show. They wanted to kill off a popular AL5 member, Rick and Carl are the main leads and without them there is no show, Carol was sidelined from Team Family, and so that brought it down to choosing between Daryl and Glenn. AMC would never let them kill off their cash cow, so they chose Glenn. I’m pretty convinced about this because Daryl’s got all the merchandise from AMC and Hot Topic for the show on his side, not Glenn. And while Glenn was still a pretty popular character on TWD with fans, I remember seeing an article that said he still ranked second after Daryl back in S3. Plus, why else would they make Daryl indirectly responsible for Glenn’s death that he should have gotten, instead, and then focus almost entirely on his pain and suffering over Glenn’s death more than anyone else’s, including Maggie’s, Glenn’s wife? That seems like obvious fan pandering and Daryl favoritism to me, at least in part.

I was alright with good characters dying from S1-S4 because Glenn was always the one character there to defy the otherwise predictable and discriminative trope of the “kindhearted, selfless, and loving character from a marginalized group of people just can’t survive in this world,“ and because the deaths of the characters, who did die, besides Andrea, who Mazzarra fucked over in the S3 finale, still felt at least somewhat meaningful. However, after Hershel’s death, it began to feel like an extremely lazy, predictable, and cruelly manipulative trope that had lost its charm because we were losing too many good characters for no good reason. It really started to stick out to me with Beth’s death that happened because *gasps* they must add in a shitty and tragic plot twist that failed to make sense, anyway, because the writers had killed her off in the most OOC way right when she had just had the chance of greater complex development right in her grasp.

Glenn’s death on the show was my last straw, not just because he was my favorite character, but because his death was even worse than Beth’s. He was literally the the last remaining heart and soul of this show that they killed off. It wasn’t just Glenn who got killed off in the S7 premiere, it was the TWD that I originally fell in love with as a show, too.

At least the writers gave Beth a full arc to explore her new character development, and they took the time to focus on her before killing her off. The writers didn’t even give Glenn that much before killing him off on the show. Gimple threw Glenn under the bus right after sidelining him post S3. They used that dumpster gate fake out death bullshit with Glenn (which never happened in the comics that they were so intent on following for the death of this one main character from them) throughout most of the first half of S6, a season before his death, revealed that he was still alive a few episodes before the S7 premiere, made him kill living people for the first time to protect Maggie and his people after coming back, never mentioned anything about it afterwards again, and then killed him off in the S7 premiere, anyway, all because they wanted to shock the audience and give Daryl another man pain storyline by making him cause Glenn’s death.

Gimple is so narcissistic that he is unable to see just how shitty of writing that was, and called us “children” for being pissed off about it. Really? Shut the fuck up, Gimple! Being creative and diverging from the comics when there is potential to do so is your job! You could get away with not giving every other comic character the same death from them, create Daryl Dixon for the show and let him still live on it, kill Sophia, kill Andrea, let Carol still survive, and switch up every other major death, but you couldn’t save Glenn Rhee on the show from his comic death when you already had every perfect reason to not kill him off set up, which made it feel like a total sellout, anyway. I bet you were just too afraid and too lazy to be creative and take advantage of organic opportunities for something better and new, as usual.

Also, giving the audience such sparse false hope by killing Glenn off in the S7 premiere, after faking his death only a few episodes earlier is bad storytelling that has lost you a lot of fans respect and viewership, Gimple, including my own, so don’t tell us that Glenn fans shouldn’t feel pissed off enough to quit watching because you killed him off and blatantly disrespected his character and his fans in doing so.

The writers killed off Glenn, the character who they just made kill ten living people to save Maggie for the first time ever in S6 with no deeper explanation of the effect that it had on him afterwards. The writers killed off Glenn, who they hid under a fucking dumpster to fake his death and cheaply manipulate the audience for most of S6. The writers killed off Glenn, who they had been sidelining since S4, and who never got full backstory, development, or a bottle episode. The writers killed off Glenn, and made Daryl, the overrated white trash fan fav, responsible for it, so that he could survive to get a storyline out of it, instead. The writers killed off Glenn, who was the only death from the comics of a main character that they decided they just had to follow from the comics on the show. The writers killed off Glenn, who also happened to be the only core MOC protagonist on the show from day one that these white, narrow-minded, and racist writers just had to give his comic demise to, even though no other main character who died on show from the comics was ever given the same comic death on the show. The writers killed off Glenn on the show, even though it wasn’t relevant or necessary to the overall storyline, or to the development of Rick because Daryl stole Glenn’s role as Rick’s main righthand man, or the person who mattered to Glenn most in the world, Maggie, (and even that’s a shitty and racist excuse for killing off Glenn, but at the very least his death was a game changer for Rick because Glenn was his righthand man in the comics, while Maggie was a damsel in distress in them before Glenn died and she learned to stick up for herself in the comics) because she was already a badass and independent leader on the show, and they totally sidelined her and made her husband’s death all about Daryl’s pain over causing it to happen, anyway. The writers killed off Glenn, who was the last major source of living hope and optimism on this show that made TWD feel worth watching through all of the bullshit on this show as a whole because he was a constant source of the possibility that a better life could be achieved because the world went to shit. The writers killed off Glenn Rhee, who was a deeply meaningful symbol of hope, growth, and optimism on this show, rather than just boring day to day survival that goes nowhere new, and meaningless action and torture porn scenes that no longer shock me, just disappoint me. RIP Glenn Rhee=RIP TWD.

anonymous asked:

god. i honestly don't think i'm ever going to have a clear and coherent idea about john silver. i've been trying to get my head around why he did what he did (like whether if it was out of compassion for madi/flint, whether it was a bit of the cowardice within him not wanting to go into this war, a mixture of all of this) and i just can't? he's just one of the most complex characters i've ever come across and i'm gonna spend god know's how long trying to figure this show out.

same, anon. same. (also sorry it took me like 12 years to respond to this)

I’ll probably have a clearer idea of why once I rewatch the whole show, but until then, here are my thoughts:

I don’t think that it was cowardice or that Silver is afraid to die; on the contrary, I think he would trade his life for the right reasons, or for the right person. His sacrifice for the crew at the end of season 2 is pretty strong evidence for that. But I think he realizes what Flint’s war really is, and has found that all it will do is lead him down another path filled with unending torments, such as the one that led him to Flint in the first place. Over these 4 seasons, he has held Muldoon’s hand as he drowned, he’s killed men himself, and had others do it for him; since he met Flint, his life has been steeped in death.

But that was never what he wanted. What started as a way to get rich quick has left him utterly changed, and, for what is surely the first time in his life, Silver is in love; with Madi and with Flint.

He has previously been defined in our story by his unknowability, by his lack of attachments (he is no one, coming from nowhere, etc.), and by his greed. When someone like that is confronted with not only the reality that he has people he loves, but also the very real possibility (if not fucking certainty) that those people are going to die horrible deaths if this war is allowed to begin in full, what else can he do but use every tool at his disposal to protect them, especially from themselves?

So, he took drastic measures to ensure that the cycle of death would be broken. Ending the war, for Silver, is arguably a selfish act, but it is also an act of mercy and of love.

I. Miss. Amy. Raudenfeld. So. Much.

You guys, shit-talking Faking It ending aside (which became my specialty and I’m sorry, I’ve just been real bitter), I will never forgive Carter for not allowing me to see more of Amy’s progression. To those of you who still follow this blog, who still care about Faking It, I’m not sure if you feel the same but I’m weirdly nostalgic tonight and this is my biggest regret I don’t think I got to share.

I can’t forgive Carter for fucking up his show so much that it got cancelled because I’ll never get to see more of Amy Donut Shirt Bacon Pants Selfless Idiot Raudenfeld. Amy Raudenfeld is one of the most relatable, complex and emotionally raw characters on television, period. She is such a kind, selfless soul who has been through so much and only evolved and became stronger, who loved so completely and so unconditonally it tears a whole through my heart watching her heartbroken expression and her struggles or just thinking about what she’s been through. 

She was so real to so many of us who loved and never got loved back by the one person we would be willing to give our everything to. She was so real to everyone who felt neglected - she loved Hank, her father, despite him not being there for her because she knew he did everything he could even though it had to hurt her. She was afraid of the dark because maybe sometimes she couldn’t find the light to fight against it. She let Karma chase after Liam, she did everything to encourage them to be together because she wanted Karma to be happy. Because that is who Amy Raudenfeld always was. She made mistakes, she fell, she acted recklessly because she always got less than she deserved. And she deserved a better ending than a rushed 3 episodes long “romance”. We did too.

I deserved to see more of Amy and Karma goofing around with each other, eating donuts, watching films, maybe finally realizing how in love they both are with each other. I deserved to see more of Amy’s passion for film. I deserved to see more of Amy coming to terms with her identity I deserved to see more Amy/Lauren sisterhood scenes. I deserved to see that beautiful evolution. We all did.

And I’ll forever be bitter about Amy because I am Amy. So many of us are. It’s just unfair. Faking It had a lead character that was golden, despite unfortunately being a punching bag 24/7. *takes Amy away from Carter and the writers, while giving her a nice vacation in the Bahamas and an endless supply of donuts.*

I just miss her, you guys. So much.

Let’s be honest about Season 13...

This has been one of the worst THE WORST season of Grey’s Anatomy. This has been why I have barely been posting in this blog about it at all. I’ve been forgetting to watch this entire season, which I have never done with Grey’s Anatomy. I’m always eager to watch a new episode every Thursday, but Season 13 has dropped in quality so much that I’ve had to force myself to watch it. And it was a chore.

I’m sorry, Shonda. I love you and I will always love Grey’s Anatomy and will watch, but this season has been so disjointed and messy and a general waste of 24 episodes. I genuinely only enjoyed 5 episodes out of the 24 this season which is…bad. The season finale was great (but then again this show is always great with season finales).

I just wanted more focus and tension that didn’t feel artificial, because this season felt like a strange rip-off of Grey’s Anatomy not the actual show. There seems to be a fatigue going on in the writers’ room or something, because there was a lot of storyline repetition and barely felt drama. (I saw that there were a lot of new writers for the show. Is that the reason for the drop in quality?)

There could have been so much more with the entire Alex/Jo situation but that storyline alone was poorly handled and Jo was barely in this season. I don’t remember much of that storyline at all other than the fact that I found it grating. Justin Chambers deserves better storylines honestly. Do something with his family. That would be so much more interesting than what he was given this season.

The Owen/Amelia stuff was forced as well and did not go anywhere really until Meghan showed up. And it really could have gone in some interesting places just regarding Amelia’s trauma of pregnancy.

The Meredith and Riggs stuff got better as the season went along, and it felt more heartfelt and emotionally provoking. The parallels and complexities that were slowly added to their budding relationship were pretty well done for the most part and I wish the season gave them more time than some of the other crap this season was filled with.

However, the whole thing with Maggie was trash–it totally ruined her character for me. She became so grating too–and childish for no real reason. (I will say, the episode Ellen Pompeo directed about Maggie processing her mother’s death was great).This is an adult show, is it not? I couldn’t tell this season. It felt like watching bad episodes of Degrassi too often. Sometimes I felt embarrassed to watch, which I’ve never felt with Grey’s Anatomy before. And now it seems like the show is trying to pair Jackson with Maggie together maybe…they don’t really have any chemistry as far as I can see, but…sure, I guess. (Y’all still know I secretly want Alex and Maggie to happen!)

The Minnick stuff should have been more interesting than it was and there is no excuse because this show did a whole season (Season 9, one of my favorites) in which there was an uprising within the hospital regarding management and doctors taking sides. They could have made this whole situation more compelling. And the Minnick and Arizona relationship–trash. I feel nothing for their relationship and Arizona seemed to be out of character this entire season. (Callie needs to come back). Bailey was good this season, although I did not like the whole artificial drama between her and Webber–it did not feel earned. Webber deserves better storylines than this petty stuff.

The Jackson and April stuff was mildly interesting. But thee Japril episode from Season 12 was so much better. I wish they allowed more story for Stephanie up to the finale and her departure, but they gave her a good exit that did not involve death. Also, the medical cases were just not very memorable at all either.  

Overall, this season suffered from inconsistency in plot and character development. I don’t see myself rewatching this season except for those five episodes I liked (Episodes 8, 10, 18, 23, and 24).

All I know is that Season 14 has to be the great comeback, because I was expecting so much more after the brilliance that was Season 12.

Elementals Review (Spoiler Free)

Wow. Once again, Adventure Time knocks it out of the park with another award worthy miniseries! Elementals follows Finn, Jake, the Ice King, and Betty on a quest to return Ooo back to its original state after discovering it transformed into a “four-way pizza” as Jake dubs it, of the four Adventure Time elements: fire, ice, candy, and slime.

Out of the three miniseries so far, I would personally rank Elements as number two (Stakes would be one and Islands three). I believe Elements combines the restrained yet intriguing setup of conflict that Stakes employs with the slightly underwhelming/disappointing conclusion that Islands presents. The mishandling of the climax of the series (I’m being as vague as I can) is one of the only shortcomings I can find with all of Elementals. As a whole, Elementals is Adventure Time at its finest. The comedy, drama, storytelling style, and plot all rise far above average, even for your average Adventure Time episode. Not to mention the superb animation and character design throughout! There are some real knockout background pieces as well.

Make no mistake, Elementals is far from average. In eight episodes, it flies far above anything most television shows have ever achieved in quality. When comparing it to the pure gold that is Stakes and Islands, it can be viewed as average, but on its own, is a feat of artistic talent that most would be hard pressed to find better tv.

Finn and Jake shine in the lead roles and further their relationship in new and exciting ways, Betty and the citizens of Ooo turned “elemental” add a layer of curiosity and apprehension, and The Ice King and Lumpy Space Princess steal the show as hilarious and complex secondary characters in ways they never have before in the entirety of the show.

As a final note, Elements is also benefitted by the surplus of world building it provides the audience with. Tiny details referencing older episodes and cameos from characters not seen for whole seasons makes the experience of watching Elements feel like it truly belongs in Adventure Time. Also, the setup for future plotlines Elements provides alone makes the series worth watching. Watch until the end!

Thanks so much for reading my first real review for Adventure Time! If anyone wants me to write a spoiler review, let me know!

**I was able to write this review because I watched it from the iTunes early release. Even if you watch Elementals before it’s air date, try to watch it when Cartoon Network airs it for real! Showing your support for the show never hurts.**