most important scene of the arc

I saw Guardians of the Galaxy 2 again today and noticed a bunch more things on the rewatch.

  • First of all I was expecting to be bored at least some of the time (I mean, I just saw it a little over a week ago), but I never, ever was, not even once. This movie uses every minute so well. (Unlike the first one, where most of the Ronon and Thanos scenes dragged horribly even the first time, and were completely skippable on a rewatch.)
  • I love how the end of the movie recontextualizes some of the earlier scenes. For example, Mantis’s misery and fear is so obvious when she first meets the gang, and in most of her scenes afterwards. The first time you watch it, her anxiety is easily read as nervousness around strangers. The second time, though, it’s such a gut-punch to see her standing behind Ego, wringing her hands, and knowing why.
  • Drax mistaking Yondu for Peter’s actual father is another of those fantastically recontextualized scenes. The first time, it’s funny, just a tossed-off joke. The second time, though … right in the feels. Because Drax, for the most part, doesn’t get the whole concept of people pretending to be something other than what they are. He watches Yondu and Peter interact with each other and he totally gets the actual relationship in a way even they don’t.
  • Speaking of which, there is some really brilliant editing in this movie. This time around, I noticed how it cut from Ego’s “I’m your dad, Peter” right to the first installment of Yondu’s storyline (which also involved interacting with his parental stand-in, Stakar). And none of the significance of this is clear if you don’t know the characters’ emotional context! You basically can only pick it up after having seen the movie once.  
  • The pacing on all the emotional arcs is so, so good. I didn’t even really notice, the first time around, how strong the Peter-Rocket arc is, from their fighting in the beginning, through Rocket not wanting to leave him on the planet, to their little moment of connection at the end.
  • I still can’t get over how this movie has eight major characters (not counting Ego; let’s not count Ego) and every single one of them has a) an emotional arc of their own, b) at least one strong platonic relationship arc with a beginning, middle, and end, and c) at least one scene in which they get to be awesome and do something important. EVERY SINGLE ONE OF THEM. Even the noncombatants. Even the baby!
  • The first time around, I didn’t really notice how brutal Gamora and Nebula’s fight is. @sheronm pointed out how incredibly OTT Gamora picking up the ship cannon is (in a way female characters rarely get to be) but the whole fight is like that: brutal, dirty, vicious, and not sexualized in the slightest. Speaking of which …
  • The only shirtless scenes in the whole movie are guys (Peter on the ship, and Yondu at the brothel). The closest the movie comes to a romance arc is Peter and Gamora flirting and dancing. I still adore how Mantis and Drax make it explicitly clear that they aren’t into each other in a sexual/romantic way, and yet the most important relationship either of them has in the movie is with each other, and he’s willing to die to save her in the end. The movie doesn’t completely ignore romantic love (the Peter/Gamora relationship is still important), and it is true that there are a few sexist jokes (like Peter hitting on the Sovereign queen – though he apologizes for it, which is a rare thing). But overwhelmingly, this is a movie that never dismisses its female characters to “love interest” or sexualizes them any more than the male characters are.
  • When I saw this movie the first time, I thought the soundtrack and use of music was better in the first movie, but now that I’ve seen them both back to back, I was so, so wrong. They both have great music, they both have some great musical scenes, but I think it’s mostly that the first movie has a faster, more actiony soundtrack, while the second movie has a slower, gentler, more emotional soundtrack that I didn’t fully appreciate at first. But in the first movie, the music is mostly a (well-done!) melodic accompaniment to the action, while in the second movie, the songs are very carefully fit to the scenes in which they occur – whether the important thing is the peppy/awful contrast (“Come a Little Bit Closer” over the murder montage), or the whole point is that the song is so terribly, cheesily on point (“Brandy”), or sometimes because the song fits the emotional tone of the scene in the best fanvid kind of way (“Father & Son”, or the repeated use of “The Chain” for the characters being separated and then coming all back together in Peter’s love-epiphany/Power of Friendship™ moment at the end).

It’s just sooo goooood. I really didn’t expect a bombastic, ridiculous musical comedy in space to genuinely be one of the best movies I’ve seen in ages.

I TALK ABOUT THIS A LOT BUT something i gotta say once again cuz i feel so strongly about it is i think the music is a massive part of why taz is so good. like fucking CRUCIAL to the story and emotion being so effective and memorable. to the listener but also in the story itself its so important like the voidfishs song, johanns music, the crystal kingdom verses, the literal arc Story and Song etc

i think there were sound effects in the battlewagon race and some music but the first time music was really implemented into a scene was……… sloane and hurley.. right……. and it caught me so off guard and made that moment that much more powerful. and that first song (discovery and recovery) is one of the most simple and minimal songs but also still one of the most beautiful??? its the most crushing moment in taz up to that point but i dont know if i wouldve cried if that song didnt play. it creates such a distinct atmosphere like i cant imagine refuge without the rustic old west guitar of roswell/refuge/the diary of sheriff isaac and the cozy + familiar piano of the davy lamp. or lucas’ lab without those vocaloid crystal kingdom verses and sparkling pulsing synths in crystal minuet/the cosmoscope/elevator of tomorrow/zero gravity trash ball etc etc etc. and do i even have to explain the suffering game. like bitch have you heard wonderland round 3 that shit bangs 

more recently the reunion tour monologue and lups best day ever are two moments that i think…. are as powerful as they are because of the music. its become a much bigger component in the later arcs and griffin really didnt spare any opportunity in the finale. theres a lot of killer tracks lemme tell ya

my personal favorite is disrobed + the chalice. they use the same melody but with a completely different sound and energy and theyre both really powerful. and play at such crucial moments!!!!!!!!!!!!!!!both of them give me chills

im really proud of griffin and his garageband/rockband 3 midi keyboard skills the soundtrack really enhanced his storytelling and the audiences experience. all his shit is on soundcloud but also buy it on bandcamp duh

Moments of Guardians of the Galaxy Vol 2 (MAY HAVE SPOILERS)

-Drax’s infectious laughter through the whole movie.

-Additionally Drax’s continuous ineptitude for social interaction, especially with Mantis.

-Gamora truly becoming Space Mum and suffering the whole time.

-The entire family dynamics within the team and the fact romance was vaguely alluded to, but wasn’t more important over family unlike most other hero movies.

-Kraglin being the Best Boy!!! The purest character in the movie who deserves only good.

-Groot being brilliant comedic relief, but ultimately also being a 3D character who pulls through in the end.


-Nebula having the best redemption arc and the saddest reasoning behind it all.

-#Let Gamora and Nebula hug more 2k17.

-Also someone give Rocket more hugs because he suffers too much. Real revelation of his character and his scene with Yondu fuCK!!

-Yondu = true dad and hero of the movie.


-Movie should be renamed “The Incredibly Shitty and Horrendous Time in Peter Quill’s Life”. Let him rest.

-The unabashed hints and references dropped. Every five seconds they references someone and it was amazing.

-The soundtrack once more!

-The reference they did to the first movie where Groot freezes while dancing when Drax sees him.

-Groot. That’s it. He was amazing.

-Mantis and Drax’s incredibly weird but endearing platonic relationship that I hope stays platonic forever because it’s too good.

-Someone must tell Mantis she’s beautiful every day this girl needs it.

-Teach Mantis to smile and love herself !!!

-Big Sister Gamora must take Mantis under her wing and teach her not to take shit from anyone.

-Dad Peter at the end with Groot. Takes after his dad Yondu. Next he’ll threaten to eat Groot.

-The inappropriately times jokes.

There’s so much more good parts to this movie but I’ve rambled on too long already. It must be watched!!

i cannot goddamn believe sam esmail textually confirmed the subtextual homoerotic tension between tyrell and elliot. yes, it came to a head during last season’s finale when tyrell cried that he “loved” elliot to angela on the phone, but that could have easily been swept under the rug and written off in a variety of ways—platonic love, brotherly love, respect and adoration as an extension of his whole “god” complex, a symptom of tyrell’s mental illness, etc. instead, sam dedicated an entire episode to tyrell (which was a long time coming, in my opinion. he’s a dynamic character and should be used more often) and within the first few minutes had him restate his love for elliot while cupping his cheeks as if he were about to lean in for a kiss. and how does sam make elliot (mr robot) respond? “some things are better left unsaid. y’know, subtext.”

oh sam, you clever man.

not only did sam confirm that the gay subtext exists and isn’t just in the mind of the fans, he did so through his own character, almost breaking the third wall. now, there’s two ways this can go in my mind:

  1. that line was a clever nod to the many fans who have argued that tyrell had romantic feelings for elliot since the beginning. yet, mr. robot’s response is meant to be sam’s reply to those fans—that it’s better to keep things subtextual, and that’s all they’re ever going to be.
  2. tyrell and elliot’s sexual tension will cross over from subtextual to textual, possibly by season’s end.

currently i’m feeling #2. here’s why:

  • tyrell’s romantic feelings for elliot are already canon. they’re 100% textual now. i don’t know if sam planned for that since the beginning or if seeing the rami/martin chemistry and fan reaction convinced him to go there later on, but tyrell loves elliot. not platonically. not as a brother. romantically. yes, it’s inflated by tyrell’s mental illness, but it’s there. most of the time writers leave homoerotic tension untouched and relegated to the realm of subtext, or push it just enough to bait lgbt fans into thinking it’ll happen eventually. maybe the latter is happening here again, but we have the creator, writer, and director of the show directly commenting on that subtext via his own characters, confirming (again) that tyrell loves elliot, and proceededing to depict that love in ways that imply it’s of a romantic and sexual nature (tyrell almost kissing elliot, the suit and wanting to look good for him, tyrell being devastated over shooting elliot and his subsequent recovery). to me this is no longer a question of queerbaiting. maybe it’s an unrequited love story, but the love exists from at least one end. it’s textual.
  • sam seems to be setting up tyrell as the only figure close to elliot who hasn’t betrayed him—in fact, he has tyrell verbally pronounce that he’ll never betray him. the two people closest to elliot already have: angela and darlene. angela is working with robot and misleading elliot, darlene is working with the fbi and misleading elliot. both know about his mental condition and the existence of robot, and have decided to use it against him for other reasons, whether that be self preservation, for the greater good, to make positive change, etc. now that tyrell knows about robot, i’m interested to see how he responds. if he stays loyal to elliot, as he claimed he’d always be, then i can see something genuine blossoming between them—not just a one sided unhealthy infatuation/obsession from tyrell. if elliot realizes tyrell is loyal to him, especially in the face of his sister and best friend/love interest betraying him, he may come to trust tyrell for real. and from trust comes respect, friendship…and maybe love.
  • last season the romantic tension between angela and elliot finally came to a head. they kissed. feelings were made clear. however, instead of sam drawing out that storyline as most shows would since they’re the “love interests” of the show, he’s already commented on it three episodes in that flips the script entirely. elliot kisses angela. she tells him their first kiss was a mistake and doesn’t seem interested in the second. then it’s revealed she’s lying to elliot (for what she may believe will ultimately do good for them both and them all. this isn’t meant to be anti angela because i love her). clearly their romantic arc is off to a rocky start. could this be the beginning of the end of that storyline? i think it’s fascinating that we’re seeing such visceral emotion and genuine vulnerability from tyrell when it comes to his feelings for elliot, while angela, elliot’s heterosexual love interest, is calm, clinical, cold, and deceptive. angela was almost eery in the scene where tyrell was freaking out over elliot’s surgery and she was trying to calm him down. the fact that it’s angela who tells tyrell elliot’s darkest secret seems important as well—almost as if sam having her hand over the “love interest” torch to him. suddenly tyrell has become the most genuine ally elliot has on his side (genuine, not healthy, mind you), and with this newfound intimate knowledge he very may well become closer to elliot than angela or darlene can be (or want to be) at the moment.
  • both of the above have set up a possible arc that could allow for tyrelliot to develop as a genuine romantic arc, not just a one sided infatuation or queerbaiting fiasco. it still could end up one of the two, but now there seems to be a new narrative at hand that could allow for a mutual love to bloom. it may not be healthy given both elliot and tyrell’s mental states, but it feels like it could be genuine. like fucked up soul mate material.
  • last but not least, martin has always been very positive about the idea of tyrelliot, whether that be shipping it in general or wanting to kiss rami (lol). he’s still going on about it as of today. sam has been as well, just more cryptically. both are still better than what many creators do with similar pairings (“they’re just friends,” “it’s a brotherly love,” “he isn’t actually romantically interested, he’s just in it for the power trip” etc.)

basically i think there’s a good chance tyrelliot will become canon. maybe it’ll just be a kiss that goes nowhere (as angela/elliot seems to be proceeding as of now), or maybe it’ll be something more serious and mutual. i also think there’s a good chance something will happen this season.

I cannot believe that they CUT out the most important scene of the Arc!!!!!

We all believe that this scene here is very important, it captivate us and show us viewers how much Uchiha Blood is in Sarada and she has inherit many traits that her father has in the past.

OHHHH MANNNN…..I was so excited to whipped out my phone to snapchat this with a caption that goes….


Sarada: I think in gonna leave the village.

Naruto: Oh hell naw, I am not going through this shit again.

Steven Universe Podcast Episode 10 Recap

The Steven Universe podcast episode 10, hosted by McKenzie Atwood, is called “Steven Selects: Episode 2: Storm in the Room.” It’s the second of an eight-part series of spotlights on fan favorite episodes. The guests are Matt Burnett, Ben Levin, Jeff Liu, and Joe Johnston. The official description:

Writers Ben Levin and Matt Burnett have plenty of inside info on the making of “Storm In The Room.” Find out which memorable scene was a must-include in the episode, what dialogue was most fun to write, how they balance the funny and the emotional arcs in the story, and why it was so important for Steven to finally meet his mother. Plus, storyboard artists Jeff Liu and Joe Johnston answer more fan questions including how they write for Stevonnie, which jokes they’ve had to cut from episodes, and the difference between writing comics and writing for animation.


Matt and Ben are introduced first. McKenzie asks about how their approach differs in writing an episode like “Storm in the Room” that are sort of cool-down episodes after big action battle episodes. They say there need to be processing episodes and explore emotions so they don’t exhaust the characters and the audience.

Episodes are usually “louder” in writing and then become “quieter.” The actual storm was supposed to be more of a struggle, but it ended up being more figurative. There was a specific image of Steven alone in a bathroom taking off his earrings was a very important idea from Rebecca Sugar, wanting to capture that feeling. Also with Steven wanting to keep Connie’s company where he doesn’t have to face that alone moment.

McKenzie asked how they go about getting that episode structure right to give it time to simmer before getting into the action. Ben and Matt say they knew Steven was going to go to the room and conjure up his mother, but it would need a bigger arc. So he feels empty and wants to fill the void, but he ends up feeling empty at the end of it anyway–until his family comes in with pizza and he feels full again. He does have a sense of relief at the end, even though he didn’t get all his answers.

They pointed out that both fans and Crew had wondered why Steven had never tried bringing his mom up in the room and that they would have personally done that a long time ago if they had a room like that. It wouldn’t have felt right if they’d done it earlier in the show–it makes more sense for this character to goof around, not deliberately create some kind of intense emotional experience. 

Plus he never KNEW Rose and at first thought of her as this person he was expected to be like, someone really intimidating, so that wasn’t really a place Steven’s mind would go.

At this point in the story, though, he feels he can interact with (and confront) the idea of Rose because he’s gotten to a place where he’s learned some things that diminished her, and he has stronger feelings about some of those things. After seeing the human zoo arc with the Diamonds still being affected and in mourning because of Rose’s decisions… . He has questions and needs he didn’t have before.

McKenzie asks whether his conflict is more about gray morality associated with Rose, or is it more about who HE is as a result? Matt and Ben agree that he’s learning it’s not as simple as modeling himself after some perfect person, which is what he thought Rose was until he learned about all the questionable things she’s done … Bismuth, Pink Diamond, etc.. He learned he was wrong about who Rose was, and wonders if he has to carry the moral grayness that she had, and whether he needs to be a reflection of that or whether he can be stronger and different. Rose has been so important in defining who he was supposed to be that learning all this really complicates his identity issues.

McKenzie asks about the earrings moment, how other times Steven had similar thinking-about-stuff moments. There’s a part in “Nightmare Hospital” when he sees Connie hugging her mom and he’s just left tentatively hugging his sword, and in “Storm in the Room” he witnesses a reunion between Connie and her mom and he sees them have a moment, so that pushes him to think about Rose.

The zoo arc was written with cliffhangers and with the knowledge that they could continue from the the previous one, but most episodes are complete in themselves to have an emotional ride that can be followed start to finish without too much recapping or leaving potential new viewers in the dark. Matt and Ben did have some issues struggling with how much of what Steven was thinking while alone should be verbalized. Is staring at the portrait enough? Is bouncing off Connie’s mother enough?

Also they loved writing Rose’s ramble about sports, comparing it to the beauty of life.

Then Jeff Liu and Joe Johnston arrive to do Q&A.

Question: How does the Crew fuse dialogue between Connie and Steven? How do you get the mix?

Answer: Stevonnie tends to sort of alternate. There will be one analytical response and one goofy response, and it’s usually easy to tell where it’s coming from. More complicated Fusions like Alexandrite are tougher unless they have a unified goal like fighting someone.

Question: In your experience, what was more beneficial in developing your storyboarding skills: making your own animations, or comics?

Answer: Jeff didn’t do comics really, he made his own films in school though. He learned storyboarding as he went on the show. Joe agreed that making a film helps you learn to go from beginning to end, to fully realize it, really lets you look back and learn from it. Comics help you with writing and joke-telling, while films help you figure out tone and pacing. And of course comics are much faster.

Question: What are your favorite jokes that you had to cut, if you can remember.

Answer: Jeff says there was originally a frog monster in “Serious Steven” originally, and then Steven sang a song about it.

Next week, “Mirror Gem” and “Ocean Gem” will be featured, with Matt and Ben again.

anonymous asked:

I hope Kirishima's role won't end after this arc and hori won't forget about him , I want kirishima to be one of the main characters like todo Ida and the others!!!!

Why Kirishima Will Be Important After the Internship Arc

I don’t think Kirishima’s role will end by the end of the Internship Arc. Out of all the side characters, he has gotten the most development at this point, and we haven’t even seen his backstory yet. That’s pretty amazing. I’d like to think that it’s because Horikoshi has plans for Kirishima in the future. 

Also, the Internship Arc seems to place a lot of emphasis on how much Kirishima needs to improve as a hero, which means he’ll likely get future development where he does improve and kick ass.

There’s also his low self esteem, which will take time and effort to get over. Kirishima trying to get over his low self esteem will require future character development and screen time. 

Let’s also not forget the Internship Arc still hasn’t shown us Kirishima’s backstory, Crimson Riot, his family, or his relationship with Ashido Mina, someone who went to the same middle school as him. There are things involving Kirishima that have yet to be addressed. 

Kirishima is also close to Bakugou and is a big part of his character development.  They’ll likely have scenes together where their relationship develops and helps both their characters grow. Their dorm rooms are probably right next to each for good reason. 

I’m still surprised Horikoshi has spent so much time developing Kirishima. I knew Kirishima was a box of character development waiting to happen, but I didn’t think he’d be the second most important Class 1-A student in an arc, getting several chapters dedicated to his character development as a result. We haven’t even gotten his backstory yet. That’s impressive and definitely not something even half of the other side characters will be getting. In fact, I don’t even think any of the Class 1-A side characters has gotten the development Kirishima has gotten. I’ve heard some people speculating Tsuyu becoming a main character considering how she’s in a lot of the promotional material with the main characters. However, she doesn’t have as much character development and focus as Kirishima, and she has her side story. 

I can’t wait for all of this to be animated

I am really looking forward to it, and I’m positive SP will handle it good, btw i am not concerned on the animation ONLY but one of the most important thing is how the manga is going to be far as i can see, the animation is really good when you compare it to the naruto shippuden series (war arc) just my opinions and thoughts.

Also the music (sarada’s theme song) and the emotion on the characters faces, fighting scenes (based on the ep summary we will have more sasusaku “fighting together” scenes)  not only the animators but the voice actors themselves i want to see how they will deliver the characters voice especially the EMOTION. T_T i just cant hahahaha..And how Sasuke’s voice (sugiyama) will voice sasuke as a father haha..And lastly, i’m quite positive that we will have more uchiha family moments since its what SP always does, they add more scenes, (like sakura and sarada had dinner together in ep 19) but dont expect too much, Okay.. :D

Originally posted by snorrierickson

Leave This Town Pt 12 (Mechanic!Bucky AU)

Characters: reader, Bucky, Tony Stark, Steve, others mentioned. 

Summary: After leaving the small town life behind, you’ve worked hard to make your dreams come true. When something unexpected brings you home, you’re brought back to the place where everything changed. Timing is everything and now there just might be a second chance with the man you left behind.

Song Inspiration: Angela by The Lumineers

Warnings: Tiny bit of angst, mostly fluff.

Word Count: 3.6k

Tags are at bottom (TAG LIST IS CLOSED I’M SORRY)

**This fic is for @bionic-buckyb ‘s 5K AU Writing Challenge**

A/N: Whoo, boy, you guys. It was a little odd writing Steve and Bucky meeting. Even as an AU. haha. :D Hope you like their interaction, though! I really thought this would be the end, but surprise! An epilogue is coming. I do love a good epilogue. Hope you do, too! And I also hope you like this part! Please let me know your thoughts!! All feedback is welcome. I love you guys. 

<<<Part 11   Part 12   Epilogue (End)>>>

Leave This Town Masterlist

Full Masterlist


Originally posted by ohhseby


Your eyes flew wide and within seconds, you discovered the man’s perfectly styled dirty-blond hair and a pair of bright blue eyes met yours from across the room. He smiled and raised a hand in greeting before making his way toward you.

“Is that Steve Rogers?” Bucky asked with a tone of admiration in his voice. “Looks like he’s headed this way. Are you two close friends?”

“Um…” you hesitated, watching Steve’s progress across the room as he continued to shake hands and greet people along the way. “About that. There’s something I should probably tell you…”


“What is it?”

You shifted nervously, glancing at the approaching Steve before returning your gaze to Bucky. “Remember how I was seeing someone and broke it off just before I came back into town?” you asked quietly, then hesitating.

“Uh…I guess so, why…” Bucky began, then pausing as the light came on and his eyes grew wide. “You and…he…you were dating Steve Rogers before me?” he hissed at a whisper.

You nodded slowly. “Yes.”

Keep reading

you know, i get the disappointment that some people felt over the conclusion of claw arc on mob psycho 100′s anime. how they were expecting a big action scene, a big fight showcasing mob’s powers, but were instead met with reigen taking over the situation, and solving it mostly through talk alone. to something that was built up as the conclusion of a big, fight-heavy arc, it might feel like a let down. 

but while i get that, i also feel that the people who were expecting this don’t really get an important aspect of this series. it has action and it is an action series, yes, but in many ways, mob psycho doesn’t glorify fighting. and most of all, mob psycho doesn’t glorify making kids fight.

mob, ritsu, teru, all of the other psychic kids. they are kids. and the show doesn’t brush it off as something natural, the fact that a bunch of adults are placing these kids on this situation.

mob hates using his powers, and he hates hurting other people. and while the show is always very aware of his shortcomings, this isn’t presented as one of them, as an evidence of his weaknesses. and i have to say that after so many animes having these 12-15 kids as these merciless badass mini-adults who are always unfazed by the shit they have done and must do, it felt extremely refreshing that on the defining moment of the arc, the moment where i felt sure that mob would have to reach his breaking point in order to win, we instead got an important adult figure in his life reaching out to him, calming him down instead of urging him on, and saying ‘no, hold on, you don’t have to go through this. i’ll solve this out for you, kiddo’.

My Analysis on Giomis and Why I Ship Them (1/2)

I doubt this will get any real attention since I hardly use tumblr, but I digress. Any-who, ever since I read Vento Aureo for the second time, I was struck by many important scenes I missed during my first read through. Unfortunately, the terrible scans and awful translations I read of VA, really hindered my understanding of what was happening in the entire series as a whole. Thankfully, I found colored scans fully translated in English (some of it is still a bit off, and I am waiting for Jojo’s Colored Adventure to finish translating all of the colored volumes), that helped me grasp many aspects of the story I missed the first time around.

The most important of these details I missed the first time around, was Giorno and Mista’s budding relationship throughout the series. When you are forced to stare at low quality images with sub-par translations, what tends to happen is that you try to read as quickly as you can just to grasp some idea of story’s main plot. I unfortunately did this during my first run through of VA, so when I decided to give part 5 a second chance, I made sure I found scans that wouldn’t make my eyes bleed. As I re-read each chapter, it felt as if I was experiencing the story for the first time, and found myself relating to Giorno’s character even more. Like myself, he is a quiet reserved person, who enjoys spending all of his time alone. He has goals, dreams, and ambitions that give him a hunger for success. Being only a 15 year old boy, with no real guidance on how to achieve his dream, he simply turned to petty crimes in order to put his name out there. Meeting Bruno became a life changing experience–he found someone who valued his goals, and offered to work with him (though warning that if he got caught, Bruno would abandon their partnership) in order to make those goals into a reality. Having someone who is older, and experienced like Bruno, would have given Giorno confidence, for he found someone that he could not only work together with, but look up to as a mentor.

When Giorno meets the other members of Bruno’s team, quickly he learns that he has to prove himself, and tries to act coolly towards their mistrust. In fact, an important thing he says after drinking Abbacchio’s special tea, is that he was going to hide his stand abilities, because he felt that they wouldn’t openly show theirs to him. This gets reinforced when Abbacchio berates Giorno and refuses to summon Moody Blues while they are attacked on the boat to Polpo’s treasure. Why is this particularily so important? Well, that’s because Mista, being the carefree person he is, doesn’t even attempt to hide Sex Pistols from Giorno. In fact, he offers to team up with him right away, something that shocks Giorno. Mista doesn’t try to hide himself from the teenager, instead he offers to work with him on various missions. For Giorno, who must have been feeling the pressures of being isolated from the rest of the group, this would have been refreshing and comforting.

Skipping ahead to the White Album arc, (ah yes that quintessential Giomis arc), Giorno still wasn’t fully integrated into the group. The members of Bruno’s gang still thought of him as just some newbie, and Mista again, finds himself working with the teenager. When Ghiaccio’s stand attacks them, it is an ability that completely counters Giorno’s. In fact, as he sat there freezing in the driver’s seat, Giorno felt hopeless. He voiced his concerns to Mista repeatedly, telling him that the mission was the most important thing, and that he felt as if there was nothing he could really do to help. Mista countered Gio’s pessimism with his own optimistic view on life, telling the teenager that even in the most difficult of times, there is a silver lining. This was exactly what Giorno needed to hear. Mista’s encouragement, guidance, and directions, was enough to remind the teenager that all hope was not lost. He pushed Gio to use Gold Experience, making special bullets for him to use, and even further supports Gio by shouting Gold Experience for him when he couldn’t.

What’s important to consider with this arc, is the fact that Giorno was willing to get himself killed, and sacrifice his dreams, in order to stay loyal to the group. This means during that point, he was at his lowest, and Mista was there to pick him back up. Importantly, Giorno offered Mista the same support in return, guiding him as a leader to find his resolve to stay alive. Once White Album is defeated, we then get one of the most IMPORTANT scenes from the VA manga, which is the one where Giorno heals Mista’s head wound, and holds him as the sun symbolically rises behind them, illuminating the path to victory. The teenager then gives a very touching speech, letting readers know that Mista and Giorno are going to stay “together” until the end–this is one of the few instances where Jojo gives us a life-flag rather than a death-flag. We get a hint that Mista will be one of the survivors, following Giorno wherever he decides to go. Also, it is important to note that when the other members of passione monologue about the teenager’s charisma and leadership skills, it is all one-sided–Giorno offers no commentary in return. However, with Mista, Giorno is the first to speak up on the 18 year old’s determination, giving an excellent speech about his remarkable skills as a fighter.

WOW this came out to be much longer than I thought…and I am nowhere near done with my analysis…I’ll make another post sometime soon about this…starting with everyone’s favorite scene of Giorno “healing” Mista and how, though it is a gag, it’s timing in the narrative and changing dynamics of their relationship, suddenly gives their partnership a lot more sexual/romantic overtones.

LOVE is not a GAME

It’s been weeks and I’m just so struck by the fact that the whole theme of Sherlock throughout the years was…“The game is on!”. Sherlock using the distraction of his detective work as a substitute high, and honestly a way to keep himself at arms length from ‘humans’ and any emotional and/or romantic relationships of course.

And then there’s THE FINAL PROBLEM and in comes Eurus Holmes, setting up this game for Sherlock, and putting Molly Hooper’s life in danger, and during that call we get all this…

  • Is this one of your stupid games? No, it’s not a game.
  • I’m not an experiment, Sherlock. No, I know you’re not an experiment, you’re my friend, we’re friends.
  • You know why. No, I don’t know why.
  • Because it’s true, Sherlock. It’s always been true. Well if it’s true then just say it anyway.
  • Say it like you mean it. I love you. I love you. 

He spends the whole phone call worried and pleading and as soon as it’s done he tries to shut all that off and get back to the game so he says…”Eurus, I won, I won…I won, I saved Molly Hooper.

But then you have Eurus coming back with that EMOTIONAL CONTEXT speech and being like, HAHA NOPE, silly boy, you just lost, you proved yourself wrong, you have emotions, you do care.

And the writers had Eurus use Molly Hooper against Sherlock, like this, to facilitate this exact epiphany, (disproving everything he’s said over the years, that he’s not a hero, that he doesn’t have a heart) because MOLLY HOOPER does count, she matters the most, he loves her, and LOVE IS NOT A GAME.


On Reading Sherlock’s Face

I’m not a fan of metas based on reading faces. I’ve seen other people do it well, but I’ve never liked actually basing conclusions off expressions alone. Everything exists in context, but especially facial expressions. They’re also the easiest thing to project onto– you can read a lot of things into a facial expression, and I’m very wary of that sort of thing in analysis. I am particularly wary when shippers do it and/or there’s an agenda involved (and usually there is an agenda involved, in fandom). My point: I don’t really do facial analysis if I can help it, and certainly not alone. But there’s definitely a point in TFP where the show kinda begs you to look at Sherlock’s face, and I can’t deny it’s interesting.

In a general sense, I’m also kinda going through the things that seem off or are interesting in Series 4 (in no particular order), and of course, I haven’t addressed this yet:

I remember being struck by this when I saw it in the trailer, and analyzing it a bit. It was obvious to me it wasn’t to John, because John is behind Sherlock. In thinking about it before I knew the context, I thought it was weird, because Sherlock looked so unhappy. His whole expression is… tense, disturbed at something. It’s not the kind of face (or set-up) one associates with an ‘I love you’, so I thought something rather dark must be going on.

Now, I agree with the analysis that this isn’t Sherlock’s ‘lying face’, or the over-the-top acting Sherlock was doing with Janine in HLV. This is definitely different. But the only two options aren’t ‘he’s lying’ vs ‘he’s just realized he means it’. The difference between TFP and HLV is context: in HLV, Sherlock went on to dismiss John’s horror at his callousness, and say love was ‘human error’. In TFP, Sherlock no longer thinks so. That is the point.

A lot of people (no matter what they ship) don’t understand this scene– they either seem to think it’s gratuitous emotional torture, bad Molly characterization (because she’s apparently not gotten over her feelings, though as I’ve said, there’s no reason to think she had), or– I suppose– there to show us that Sherlock just loves Molly back, all appearances to the contrary. Of course, many fans essentially believe there doesn’t really need to be a reason for that last option, particularly seeing as it’s about a heterosexual couple, so I’ll just say that no, there actually does need to be a reason, not to mention build-up. Besides, if Sherlock simply… meant it, that would kill the drama (and the intended darkness) of the scene. In general, no matter what Sherlock’s face says, the narrative has to support it or it makes no sense and constitutes bad writing. But for what it’s worth, his face doesn’t really say ‘I love you’. He looks sad and disturbed, but I do believe he also looks like he’s realizing something on some level. It’s a form of his serious deduction face, except we don’t get as much of an inward look as we did the last time this happened, during the wedding speech in TSoT (as I once wrote extensively about).

So what is Sherlock realizing, in context?

That question is closely tied to asking why that scene is there. I mean, I’ve seen plenty of Johnlock shippers sort of riff on the fact that the deduction of the person meant for the casket could have been about John– he too is short and practical, and he loves Sherlock! But I think bringing John into it is a derailment. It’s not about John, but it’s not about Molly, either, not directly. Like I said in my John analysis in TLD, it’s not about John ‘cause it’s about Sherlock. Obviously, this applies to this scene: we’re focused on Sherlock’s face here, full screen. That certainly suggests that we’re meant to be focusing on him (and his arc).

And yes, that’s what I think it’s about. I realize most people who’re not Johnlockers seem not to care that there’s an arc, but even though we’ve been wrong about various things, the one thing I’ve been right about is the importance of Sherlock’s arc. Moffat has explicitly referred to it and its relevance to TFP, too. This is Sherlock’s test, his final test (as administered by Eurus, the embodiment of the ‘high-functioning sociopath’ persona). The Final Problem is becoming human.

So what does that have to do with Molly? He’s already told Eurus that he realizes his life is not his own: “Your own death is something that happens to everybody else.” So he’s learned the lesson of Reichenbach. The ‘human error’ thing is about people like Janine and Molly though, in the show. He doesn’t really have a problem accepting his feelings about John (however you want to read them); as soon as he realized them, around TEH and TSoT, he accepted them. John is always the exception. It’s everyone else’s feelings– and feeling in general– that Sherlock hasn’t taken seriously or accepted as valid, as important, as worth empathizing with. So this is the final step: he’d already felt bad for Molly in TEH, but he didn’t take her feelings fully seriously, because then there was Janine. Love was still ‘human error’… but then Sherlock kept making that error. You don’t have to read this romantically, though it’s certainly not been about Molly. He’s made the error about John, about Mary, and even about Eurus (in TLD). That’s what he was telling Mrs Hudson with ‘Norbury’. He knows that ‘human error’ is something he has to take into account. Heartbreak is something Sherlock is now very familiar with. He has to feel it, but he doesn’t have to fear it (as Moriarty said).

Sherlock fake-smiled when he proposed to Janine because he was dissociating, essentially. Here, he wasn’t. But that doesn’t mean he was confessing his love. It means he was fully feeling the awfulness  of what he was doing to Molly, and that he was aware he was using  his real feelings– because he really does care about her as a friend– to hurt her, essentially. This is the realization he started to have at the end of TAB, about how many women he’d hurt. This is the consequence: it hurts. It burns. It aches, being human. But it allows him to reach his sister, in the end, so the point is not about avoiding the pain but embracing it.

One thing that frustrates and confuses me about the Solas argument is how people are willing to excuse his elitism and racism because he “changes his mind“ about the races of Thedas if he befriends the Inquisitor. He stops seeing races other than his own as thoughtless beasts when he has high approval with the player character. (And by races other than his own, I am including the elves, since he is ancient elvhen, and he sees himself as different from them.)

I guess we could see his change in opinion as a way to make choice matter. To give his friendship meaning in the overall story. I feel like that is the only way I could possibly justify his racism: bad writing. The writers wrote that not befriending Solas does not change his views and befriending him does because it makes your interaction with him important. Not because of personal character arcs or whatever. And honestly, I really think that there could have been better ways to do this, if this is the case. I feel like your personal interaction with him should change him, yes, but not in regards to his racism. At least, not like it does. If this is a narrative choice to make their interaction more important, then, because of its insinuations, it should have gone a completely different way.

Because otherwise, his inclusion of the Inquisitor means something different than what most people say it does.

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Stuck in the Middle (With You)

I just rewatched my favorite episode, 12x12, and I can’t believe how apparent the foreshadowing was for… well, pretty much everything that was going to happen in the finale. I mean, one of the most blatant parallels in that episode is to Reservoir Dogs with Dean as Mr. White and Cas as Mr. Orange. Mr. Orange dies at the end (so does Mr. White, but I’d suggest that the death he experiences is an emotional death before his actual death), but it is prolonged. We think he is going to pull through, and up until the last few minutes, it really looks like he is actually going to survive. From my point of view, this parallel didn’t end at the end of the episode. It continued through the season, through Dean and Cas bonding with each other even more than before between moments of heartbreak and mistrust. Kind of like how Mr. White and Mr. Orange got to bond as they prepared for the heist, but the real development in their relationship came in the aftermath of the heist, before their deaths.

Aside from that, this episode was really a preview of all of the supporting characters’ roles in the finale, especially their motivations and their fates.

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Sanji and Nami – Fights and danger

I always rant about how Oda seems to put emphasis on Nami when it comes to Sanji, which is also one big reason for me thinking that Nami is in fact special to him. I decided to make a post that goes through their fights specifically and how often there seems to be some type of connection to the other person in their fights. Of course it’s not the case in all fights, but still there is a considerable amount, especially from Sanji’s side. I also bring up some other instances when the other person is in danger which I find interesting from a story-telling point of view.

It’s super long (and it took a long time to make too) but I hope you’ll read it and like it anyway. ^^’‘

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Differences between the Anime and the Manga - Intro

I’m gonna be posting the differences between the anime and the manga for every episode. I’ll be doing each episode of s2 as it comes out, and in between each episodes, I’ll be doing s1.

Just like many others, I was hyped for season 2, so I decided to re-watch season 1 of the anime. It was only my 3rd time watching s1, and this time, I decided to re-read the manga as well along the way, just to see what kind of changes the anime team made.

I read the manga more than 10 times, and even though I knew that there were many changes in the anime, I was still surprised by how much.

First, I wanna say that I love the anime, I think the animation is amazing, the voice acting is perfect, and the music is beautiful. I liked watching every scene from the manga animated, and I liked watching fillers that we knew happened in the manga, but they weren’t shown (for example in ep26 that would be Mike slicing up the Titans, that was awesome).

So I’m hyped for season 2, and I can’t wait to watch all those amazing manga panels animated.

However, I don’t like when scenes from manga are deleted or changed, and I’m not interested to watch someone else’s head-cannons.

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Hope and the Return of Clarke in 406

It’s a little trickier to write meta about Clarke’s POV during 406 since it was clearly weighted more towards Bellamy’s POV, especially during the rover scenes.  We see him go off on the mission with Roan, find out Clarke is missing, find the body, and then take off in pursuit of Clarke, and we don’t see her until we’re well into the action sequence.  Bellamy and Clarke’s storyline this episode was basically structured around “Bellamy is scared of losing Clarke,” so it makes sense that they spent more time on his mental state rather than hers.  But I do think 406 showed us some important elements of Clarke’s character arc this season, especially when compared to where she was in 403.

In 403, most notably in the beginning food-sorting scene and then at the end during the list scene, Clarke is, to put it mildly, not in a great place.  She’s hacked off with everyone at the top of the episode, pushing back against Raven’s (harsh but reasonable) request that she write the damn list already, and snapping at Bellamy when he announces he’s planning to die.  She breaks down while writing the list, and asks Bellamy if he has hope.  It’s only when he tells her he does (which I suspect was a lie for her benefit, because when your partner is hitting rock bottom sometimes you gotta pretend like everything is Totally Fine because otherwise you’re both gonna be at rock bottom and then nothing will get done) that she manages to pull herself together.  She goes for a walk, discovers nightblood, and…bam, she’s back.

It’s not exactly smooth sailing for her in 404 and 405, though, mostly because of the List.  The list is Clarke’s least favorite solution for the problem facing them, but until her mom and Raven can figure out to make nightblood, it’s their only hope– but it’s a shitty, half-hope for her, because it doesn’t save nearly enough people.  I think Clarke was sort of relieved when Arkadia blew up, because at least that gave her the excuse to scrap the list.

So in 406 with the hope of nightblood being available for everyone, we’re suddenly back to Original Recipe Clarke.  You know, the girl who made plans to forge a truce with the people who were picking them off one-by-one in s1, the girl who refused to accept Mount Weather’s promise of safety in exchange for giving up on her people, the girl who wouldn’t let ALIE win.  Because Clarke with hope is a force of fucking nature.  And Clarke doesn’t just turn her formidable skills towards saving her people– she also turns them towards being emotional support for Bellamy.

Bellamy’s role as Clarke’s emotional safety net is very well established in canon, but Clarke’s role as Bellamy’s emotional safety net is similarly ever-present; it’s just a little more subtle because Bellamy does his emotional supporting with words whereas Clarke tends to do more silent-listening-and-then-hugging.  In 406, Clarke immediately picks up that something is wrong with Bellamy just because of the way he says time to go, and then when they’re in the rover and he has no way of escaping the conversation (just like how my mom used to make me talk about serious emotional shit during car rides in high school) Clarke gently nudges Bellamy towards hope.  They haven’t talked about Octavia in a while, but she’s firmly on team She’ll Come Around, Just Give Her Time.  Bellamy doesn’t think they have much time, but Clarke straight up isn’t hearing that.

Just like when she had no hope while writing the list and Bellamy was there for her, when Bellamy has no hope of fixing things with his sister Clarke is there to say “No, you can fix this.  And in fact, I will face down the end of the world itself to give you that time.”  Bellamy kind of lets it drop there, but then when he announces he’s not going to Science Island with Clarke, she immediately guesses the reason why.  But she doesn’t just say “she’ll come around,” she says “she’ll come around because you are special.”  

There’s a few things to unpack there, starting with the insinuation that Octavia needs time, and they’ll have that time.  They’ll have that time because of the nightblood solution, so Clarke is basically Stacker Pentecost here, announcing that they’re cancelling the apocalypse.  At her lowest in 403, she wouldn’t have had that confidence, but she does now and it’s amazing to watch how different her body language is– she’s standing straight, arms crossed, radiating We’ve Got This, as opposed to slumped over a desk with tears tracking down her cheeks.

But the other element at work here is Clarke’s faith in Bellamy Blake’s natural goodness.  She’s never lost that, not even after the massacre, and here it just comes bubbling out.  She’ll see how special you are, Clarke says, like it’s a self-evident fact and she shouldn’t even have to say it.  Clarke’s faith in Bellamy was there at her lowest, as evidenced by putting his name on the list even though he’d already rejected that option, but here it’s more openly directed at him.  I know your sister will forgive you because I believe in you she tells him, and Bellamy lets that land before considering a confession that will shift things between them.

And then she stops him.  I’ve said it before and I’ll say it again, but Clarke totally fucking knew what he was about to say, and she didn’t stop him because she didn’t want to hear it– she stopped him because she has hope.  They’re going to survive this, and she’s not going to even consider the alternative.  And Clarke didn’t do this lightly, because she knows exactly what it feels like to think you’ll never see the person you love again.  She knows how it feels to desperately confess your love for someone knowing that’s your last fucking chance, and she knows how much it hurts to lose someone without saying it.  

She knows all of that and she cares so fucking much about Bellamy and yet she still stops him because she believes, with every fiber of her being, that they will see each other again.  It’s also in stark contrast to the way she snaps at him at the start of 403, all goddammit you will live and that’s final.  Here she’s calm and peaceful, confident and supportive.  As @verbam pointed out, she’s denying him death.  This is not going to be their last goodbye because Clarke Griffin has something to say about the apocalypse, and that’s: not today, motherfucker.

Writing Guide - Fanfiction

Hi all. Recently I’ve noticed a lot of asks that seem to be seeking advice on some of the same basic questions, including writing fics, how to get people to notice your fics, and fandom in general. In response I’ve crowdsourced a few answers to create a high-level guide that will hopefully help people who are new to writing or new to fanfiction writing more specifically.

Disclaimer: the following is not meant to be overly prescriptive; what works for some people will not work for others. The following is also not exhaustive; by all means if you have stuff to add, please reblog with additions!

(The guide is under a cut, because this got long.)

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