she tends to show up when there is a major change in character or character conflict


On the Coastal Tip of Jamaica, actress Candice Patton stands barefoot in a sheer yellow dress before settling turquoise waters. Her arms sway back and forth as the Caribbean air billows through the thigh-high slit. She gives the camera a small smile as the sun radiates off her skin and the tide tiptoes towards the shore. The Instagram boomerang I’m glancing at has now been viewed over 200,000 times by her 1.2 million-user following.

It’s mid-June; a median between two milestones in Candice’s life - two weeks before her 29th birthday, and two weeks after the Season 3 finale of The Flash aired in homes nationwide. The superhero fiction show, based on the DC Comics character of the same name, stars Candice as Iris West, opposite Grant Gustin as the titular hero, Barry Allen. In the last three years, The Flash has garnered over 15 awards, with Candice herself most recently winning a Saturn Award for “Best Supporting Actress on Television”. It makes sense that CBS Watch! Magazine would send her over to the Caribbean for a photoshoot. 

The CW star calls me from her residence in Los Angeles on a Friday afternoon, after her trip in Jamaica. I expect her to sound exhausted from her jet setting, but she’s not. To my astoundment, there’s a lot on her mind. I come to realize that, unlike Iris West, Candice Patton is equipped with a power of her own.

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jdscanvas  asked:

I usually have answer for questions like these...but what specifically about Mobius: XYL made it so horrendous that not even someone with actual writing talent like Flynn could save it? I'd say that it was just a blank slate and that any competent writer could fix it.

*Sighs, pulls out a bottle of whiskey and a shot glass. Pours the glass. Takes the shot* 

Alright, before I get into the specifics, I’m gonna contextualize a few things for you. I want you to picture a comic book, one built primarily (but not exclusively) around action, and despite the intense quality issues it tends to suffer from its still pretty popular, with a fairly vocal fanbase. One day a character is teased- the daughter of a major character, hinting towards an amazing story that will show the future of your favorite characters. Years past, the hype builds up. A hint of what’s to come is given in a story where this mystery character is featured, pulling forth an intriguing scenario in which her father, one of the heroes, will become a villain years later. 

Finally it is announced- at long last, this much anticipated storyline is going to happen! We’re going to see the future of the setting, the future of the characters and their offspring! Oh, what things will await? What mysteries will build in the interim? What new villains will operate in the future? What will the children of the heroes be like? 

Well, eventually, the storyline finally comes. All that waiting, all that excitement and hype, all of that theorizing… and all it amounted to was a fart in the wind, all noise and fury signifying nothing. 

That, in a nutshell, was Mobius 25YL. 

Now let us get into specifics. Forgive me if I miss anything, for there is a LOT to get into, so I’ll just summarize what comes off the top of my head. 

-Firstly, there was Lara-Su herself. Oh, poor Lara-Su. That’s really one of the great tragedies of the Pre-Flynn era. She had the design. She had the concept. She had the hype- people were doing fanart and fanfiction of her long before she debuted properly in the book. And then 25YL came along, and what we saw was… 

….yeah, that. See, it turned out that she wasn’t being trained as a guardian. She was just a normal leading a normal teenage life, and my GOD it was boring. Our opening scene involves her thumping her stupid cousin on the head with a book for insulting the Guardians, and this? This is how she became a Guardian. After everything we had been led to believe, everything we had been wanting to see, the mysterious, much-anticipated Daughter of Knuckles… turned out to be a whiny, entitled little rich girl who literally whined her way into being a Guardian. Not that we got a chance to see her tenure as a guardian, oooh no- it was FAR more important to see her sweet sixteen and a sleepover with her friends, and of course pool party antics. Which brings us to the next point….

-…namely that this story went *nowhere*. Like it was literally the last few issues that the damn plot moved forward and reached a climax. THe build-up took a back seat to what Penders evidently felt was what the audieance REALLY wanted- DOMESTIC DRAMA! Marvel in Lara-Su getting in fights at school because someone had an opinion! Wonder in the glories of her sweet sixteen! Behold the pool parties! Amaze at Sonic’s son being a little pervert! Hey, do you know what we needed more of? Sonic and Knuckles getting in a belching contest at a dinner party! And so on and so forth- the whole thing was basically a domestic drama, a really, really cheesy and badly written one, and these aspects of the story overtook everything else. Even worse, this story dragged on and on and on at a snails pace, and as I said, the only remotely exciting thing happened literally within the last few issues, with the build up being drawn out and unengaging. 

-The future was boring. Very, very boring, and even worse, we were told exactly how it got that way. What portions of the story weren’t dedicated to observing the Domestic Life Of The Teenage Echidna were spent infodumping and expositing about the events of the past that led to the present time. And at the present time? Everything was so peachy and perfect it could make you sick. There was no danger, no new menaces to fight in the Post-Robotnik Mobius, everything was just bland and happy and nooo real problems whatsoever. The Kingdom of Acorn now ruled Mobius, and Angel Island was now a superpower, and all the enemies of the past were either defeated or domesticated (more on that below). There was nothing to draw people in. No conflict to engage the readers. Even worse, ss this at the time was regarded as ‘the’ future and not just a ‘What-If’ (the debate of which caused an infamous feud between Penders and Bollers), the exposition ensured that there could not even be a potential mystery in figuring out how things got to this point, because the entire future was now laid bare before us. And since we now knew that this achingly perfect and tranquil future was to come, and exactly HOW Eggman was going to be defeated, there was little reason to become invested in past stories. What’s the point of sticking around when you know how its all gonnna go? Every conflict that took place in the past was now rendered irrelevant thanks to this future, which pretty much gave away the ending. 

-On top of all that, the developments of the characters from the past who were featured in this future were… nonsensical, and in some cases deeply insulting. Knuckles, for example, who had grown up in the wilderness away from cities and the like, was now in a position of power as not only Guardian but the head of the EST, and living very comfortably in a manor, with a maid of all things. Even accounting for the fact that the years change people, this doesn’t really feel like the kind of life Knuckles would ever want to live or COULD ever want to live, instead feeling like a reflection of Penders’ own ideal for what a happy ending should look like. Worse though was what happened to Julie-Su… while her depiction as such was not always very stellar, there was at least a token amount of effort applied to depicting her as a capable soldier and action girl, and prior to the release of this he swore up and down that she would STILL be a badass. This was false. This was very, very false. She was pretty much a stay at home mom who did upkeep on the house, acting as a *painfully* cliche ‘50s Housewife’ at utter odds with her prior depiction. While there is nothing wrong with being a domestic or anything like that, the fact was that this was definitely not how anybody ever wanted to see Julie-Su, and even worse, despite Penders’ touting of the ‘non-traditional’ nature of their marriage (which I should add was a reflection of the fact that he and his own wife operate under a common-law marriage), the fact of the matter was that the marriage was even MORE tradtional and bland than most marriages in media at that time. 

And it didn’t end there either. Sonic was now King of the world and pretty much going through a midlife crisis, and Sally, who actually WAS a leader of men during her youth and Queen of Mobius, was now happy and content with taking a backseat to Sonic and letting him make all the major decisions. There are many arguments about whether or not Sonic should have ever been a king or if it fits his character, but the point of order is, nobody at all wanted to see THIS from Sonic, or Sally. The decision to make him King was especially baffling because in real life, that’s not how European monarchy’s work. Sonic is not nobility, and even if he were, his lower rank would ensure that he would only ever be a prince or a regent at best, while Sally would be the one calling the shots thanks to her being higher ranked than him to begin with. 

And then there was Lien-Da. Recall how I said some threats became domesticated? Well this here is Exhibit A- wanna now what kind of future Lien-Da has after a lifetime of terrorism, deceit and murder? She’s living comfortabltly in suburbia with her son (with no mention or hint of who the father could be), and is just so gosh darned chummy with her half-sister that they gossip like a couple of old hens. I mean sure, Lien-Da helped murder Julie’s mother and their father, and then had Julie mindwiped twice-over, to say nothing of spending generations trying to murder the Guardians, but it’s all coooool, brah! No hard feelings, no bad blood whatsoever! Why, even Dimitri himself confirms that all of Lien-Da’s ambitions would never ever come true anyway, so hey, why carry a grudge? Family trumps all!

Yeah, I digress. Whatever people envisioned for the future of the characters they loved, this wasn’t it. At all. 

-The kids sucked, both as characters and from a design standpoint. For visuals, Lara-Su got off easy, having a reasonably unique and recognizable design that made her an instant hit with a lot of fans… the fact that Penders didn’t design her might have had something to do with that though. Everyone else? Clone children. Clone children as far as the eye can see. Literally they were all just traces of their parents with different clothes, and they had even less going on with regards to personality. The one with the most distinct personality was Manik, who was such a loathesome little creeper that everyone kind of wished he really WAS just as bland and forgettable as everyone else. While obviously children are gonna resemble their parents, making them flat out clones was just a step too far (sadly this would plague the sequel series as well). There have been many fan ideas and conceptions of what the children of our heroes would look like- all of them were better, or at least made more of an effort, than this. 

-While the book might have been called “Mobius: 25 Years Later”, it was actually more like “Angel Island Twenty Five Years Later”. Given that this storyline started out as a special called Knuckles: Twenty Years Later, this isn’t really that unexpected, but for a storyline that billed itself as the future of Mobius itself, the focus on Angel Island at the expense of everything else left a bad taste in everyone’s mouth. WHile it would be impossible to cover everyone, it was Knuckles and his family that got the most coverage, with the extended cast getting cameos or token mentions regardless of how important they were in the past. Bunnie and Antoine didn’t show up, Tails only showed up much later, we barely get any action from the other Chaotix… you get the idea. Even worse, Knuckles was pretty much revealed to be the destined savior of the planet, the one to finally defeat Eggman instead of Sonic, and the reveal of what was causing problems in the future would eventually be revealed to be SOnic’s fault! The Knuckles favoritism was incredibly grating, and incredibly disappointing. People wanted to see the future of *Mobius*, not JUST all the parts most relevant to Knuckles. This was the storylien that really did much to establish how little Penders cared about the title character of the series and how hellbent he was on ensuring the ‘legacy’ of his personal pet despite the Knuckles series having been gone for years by that point. 

-On a retroactive front, the reveal of Rotor being gay, or rather the rationale and circumstances of it, did a lot to taint the perception of the series. Even when the series was going on, Penders hinted that one of the cast was gay, and didn’t reveal who it was until years after he had left the book…it just happened to be Rotor, who just happened to be tortured in the new 30YL storyline while his supposed lover, Cobor, was dead. That he timed the reveal in such a way that it made Flynn look like a homophobe was suspect enough, but his reasoning behind the reveal was especially troubling, with him declaring that Rotor was gay due to his shyness. Adding insult to injury, there was absolutely no chemistry between Cobor and Rotor, like at all. In a fandom where two characters so much as looking at eachother too long can result in shipping, this was especially noteworthy, as nobody at all shipped Cobor and Rotor before the reveal… and after, for that matter. Penders loudly patting himself on the back for this despite how little he had done in-story to indicate it did a lot to taint the storyline in people’s eyes, and forever made Rotor’s sexuality a touchy subject due to knowing that Penders would always be eager to take credit for it despite having done nothing to build it up. While there was only so much one could really do at the time it was written, that doesn’t excuse the fact that there was so little affection and so little to read into with regards to Cobor and Rotor, due to the fact that believable, human interaction is well beyond Penders’ capacity as a writer. 

There is probably more I am not considering. Anyone who has anything to add is free to do so. But in conclusion? For everything that this story promised to be, and for all the ways that promise was broken, this whole thing became a black hole of wasted potential, a vortex of suckage that would consume everything in proximity, and that is why despite everything, a lot of people are not that eager to see it re-visted, believing that its just impossible to un-anchor it from the awful, awful story that spawned, and that there is nothing worth salvaging from it. 

They might have a point. 

Aries female compatibilities

Sorry it’s quite long :/

XAries male

Put an Aries woman and an Aries male, and it will be violence and drama h24.
Usually, when the partners aren’t from different signs, the comprehension between them is perfect, because they have a lot in common. But Aries are exceptions. The truth is, the Aries man is of an amazing dynamism and enthusiasm. He is so active that he tends to live at a speed that would stun more than one.Despite the endurance which the woman also demonstrates, this rhythm of life imposed by the male will eventually begin his own vivacity.

Man is also a formidable dominator and a fiery seducer. He can not help but look at the pretty ladies around him and fidelity is not part of his goal. On the other hand, the native of the sign is also very sensual and its ardor in love adds a point. She demands of her partner respect for her freedom in the field of sex. The proud Aries will not endure such an attitude and this is where the rub is hurt. For the subject Aries, love is a perpetual battle where it will always have to be the strongest. But the woman has better things to do than to submit to her laws and will also want to make her voice heard. By its nature, it is also an energetic combative.

Their union seems thus very eventful because two fierce wills meet: bursts and effervescence in perspective. When man seeks to dictate his will to his companion, the latter will revolt because the obligation and it, it makes well two. They will not fail to come up against each other because each one holds enormously to its freedom and wants to preserve it.

However, getting to agree and guaranteeing their couple the serenity and tranquility is not such an impossible mission for these two exceptional beings. The native, under his authoritarian and egocentric appearance, is a person overflowing with tenderness and affection. For her part, the woman has a lot of love to share, she also has dynamism and willpower. These characters may bring them together, but rarely do things like the others, the natives could also use them to stir up the fire of vehement remarks. The strength of their passion sets them against each other.

xTaurus male

When the Aries woman meets the Taurus man, their relationship combines harmony and understanding as principal strengths. Their characters complete each other so perfectly that they will have no difficulty in putting themselves together. Indeed, the native of the sign is a character who does not like movements: in dignified earthman, he always has feet on earth. On the other hand, his companion moved by the heat of Fire, is a person who is all the time to be on something. Her vivacity and extravagance sometimes come up against the passivity of her partner. In the course of their cohabitation, the latter will no longer endure this somewhat fanciful and eccentric character on the other.

The Taurus is a great worker and does not hesitate to devote himself entirely to his enterprise. He always needs money security. This is why he is sometimes called a miser: weighing the pros and cons of an expense is his favorite exercise. Now, Mrs Aries, in view of her generosity, does not attach much importance to material values ​​and is revealed to be an inveterate spender. These different designs concerning money will ignite the sparks of disputes within the couple. The man will never understand the lightness of his companion in the use of their finances.

But money will not be the only source of discord, the attitude a little provocative of the native will also stir up a wind of anger. When the Taurus feels the pressure too strong, it returns to its shell and it will be at that time difficult for its partner to bring it out. In addition, he has a tenacious grudge and hardly forgives.

Despite these divergences, their solidarity during the trials will be exemplary. The Aries woman, very dynamic and very audacious, is not afraid to take risks. She will be protected by the Olympic calm of her partner. The pronounced taste of adventure displayed by the woman will be delayed by the stable attitude of the Taurus. A good understanding favored by this great complicity will be established between them. They can find in each of them the traits of character that the other needs in order to flourish. And on the field of frolics, these two can expect great moments. Physical love gives them great satisfaction so that they can establish an ideal communion in their relationship.

XGemini male

When Aries and Gemini meet, these two beings with complementary characters have a chance to build a lasting and viable relationship. This complementarity is not exempt from turning into divergence however. It will not bring any equilibrium in the couple because it is constantly under the influence of the different characters of the partners. The tenderness shared within their union cannot prevent the occurrence of serious scenes.

The subject Gemini keeps an immature side that sometimes makes his charm, but his companion will reproach it to him because he can not openly manifest his passion. He always puts a certain distance between him and his feelings, for it is often his head that will speak instead of the heart. This attitude, which marks a certain detachment, irritates the native, especially since man holds his freedom a little too much, engaging in a too serious relationship frightens him. For him, the bonds of marriage would hinder his freedom, so he prefers to stand at a distance to preserve his independence. Only his partner does not hear it from that ear. Aries will then feel frustrated and become jealous. She has a great fear that her Gemini companion does let her down because the latter displays a behavior a little distant. In order to encourage him to become more interested in their relationship, she will try to awaken his jealousy, but seems rather attracted to everything that is new. He loves change and tries to satisfy his curiosity and this attitude will eventually exasperate her.

To have a chance, these partners will have a lot to give: that the native takes the initiative to grant more freedom to his companion and this, in different fields, in this case at the level of the distraction.

It is the same regarding to work, it must not feel too many pressures of some natures whatsoever. It is good to know that he is very skilled and will manage even the most difficult situations. The key to a successful union? Counting a lot on the friendly side of the relationship and not confining yourself to the sensual. It is the price to pay to live in harmony.

XCancer male

Rude fights in perspective for the Aries woman, a being of Fire and the aquatic Cancer man. By their respective elements, they have very discordant characteristics. Their behaviors are radically opposed: understanding each other and being willing to support themselves will be challenges to be faced on a day-to-day basis.

The Cancer man is indeed a very complex subject, who wants the butter and the money of the butter: success, security, stability and especially freedom. Totally anxious on the edges, he tends to crush black. He will therefore blame his companion for her enthusiasm and dynamism. When the man has access to sadness, his partner will have to use her legendary vivacity to restore his joy. She will have to be very patient if she wants her man to follow her in her world tinged with a certain note of lightness and gaiety. Yet, the native and the patience make two and the conflicts will tarnish their relationship. One of the partners will feel hurt by the other’s words and their emotional relationship may be put to severe strain.

However, they are capable of great passion and can be very attached so that a certain complicity can be established between them. So there are couples which brilliantly succeed their idyll and know an enviable blossoming. But to keep this bar of success high, both will have to be tolerant and learn to accept their partner with their qualities and flaws. This understanding will constitute the oxygen of their relationship, without which we can predict some damage.

However, in spite of their possessive personnalities, they have a great sensitivity which assures to each of them the affection that they needs. There is also a major point which can ensure stability and harmony: kinship. As they both feel a lot of tenderness and affection for their offspring, they can have a whole lot of it. These children will be the guarantee of a good understanding in their common life. They will devote themselves and devote themselves to their offspring to the point of forgetting their relationship problems. These children will experience a family life serene and full of love, an environment conducive to their development. The couple will save the bet if both sides are able to show indulgence and trust for each other.

XLeo male

The Aries woman and the Leo man belong to the same sign of Fire. Their encounter will lead to an ideal understanding because they have much in common that they fit perfectly.

The woman will fall in love with her partner, seduced by his self-assurance, his courage and his generosity. On the other hand, the native is disarmed in front of the woman’s realism, honesty and innocent air. He, who is so proud and haughty, will feel the desire to protect this tender creature. A good complicity will be established in their union and they will live their life in a total communion. They can share a lot of feelings: the love of luxury and worldliness, audacity in the face of difficult situations and the risks do not frighten them.

But despite these similarities, some problems may arise over time. The man Leo, by his tendency to dominate his entourage, risks colliding with the independent personality of the Aries woman. The latter will not accept at all to submit to the enslavement of her companion in spite of the love she has for him. It will therefore be necessary for the man to know how to moderate his behavior if he wants their couple to live in harmony.

If the Leo is too vain and too egocentric, his companion will gradually move away from him and their union is likely to shed. As they are also very passionate and love the pleasures, their love will experience a burning start. If they let themselves be dominated by their devouring passion, they risk seeing their love consumed too soon. They will not even have time to enjoy their agreement - whether physical or sentimental - and they will already face the end of their story. The hope of building a lasting and liveable union will no longer exist. To avoid such a situation, they will have to learn how to control their impulses.

Yet, because of his generosity, the Leo is able to give his partner the security of a home safe from material worries. His stable character will make him a good companion on whom she can count. This perspective is very well suited to women because they tend to get tired of living together quite quickly. The success of their couple therefore depends on their common will to behave in a moderate way.

XVirgo male

The rendezvous of the Aries woman with a Virgo man does not promise to be of any rest. Their characters at the antipodes are not the catalysts recommended to create the cartel. The Virgo man is such a prudent and discreet being that he does not seek to be noticed, to live happily, he has found no better formula than discretion. As far as love is concerned, he loves to manage his relationship in intimacy so that he does not easily surrender to the outpourings. On the other hand, his companion is very expansive and impulsive. The native admires the audacity of the latter, but at the same time she is afraid of it, since he displays more the map of introversion. He’s looking for safety and that kind of behavior does not suit him. His companion will then reproach him his lack of dynamism and fantasy.

The place of material values ​​will be the main source of their disagreement. The man, despite his desire to live in ease, is not the sort to throw money out of the windows. Meticulous as not two, he settles his expenses in advance because material security is included in his objectives. On the other hand, the native thinks that the pennies are made to be expended and she does not go dead hand. This divergence of conception can lead to discord and their fights will be bitter.

The Virgo man wishes to lead a tranquil life and the taste of the other’s adventure does not secure him. He will then live very often in insecurity, the temerity of his wife shading his desire to try the Zen attitude. In spite of the Virgo’s admiration for the woman, he trembles at the unconsciousness of the woman when she engages without much thought. But the native Aries trusts her lover precisely for his calm and stability. She feels proud because this man, whose reserve is very well known, remark and admire her.

But all this will not prevent conflicts bursting within their couple. Since they are both resentful, the situation will take a little time to flatten themselves between these two. However, when it comes to mounting a project together, we can count on these two to stick together. They will succeed admirably in what they undertake, if they know how to take advantage of this compatibility and in fact, it is in such achievements that their bond can draw on what to survive.

XLibra male

If the Aries woman and the Libra man have some complementary traits of character, life together is not really their strong point. Just like the Fire and the Air, their dominant elements, they hardly agree in their conception of life.

The Libra man is not a person of decisions: for these things he is not the man of the situation. On the other hand, the Aries woman is so impulsive that sometimes she acts first and does not think about the consequences until after. They will therefore launch criticism and disputes will inevitably appear.

They oppose themselves very often, just as they know each other and guess. They can not hide what they feel as one can read in the other as in an open book. It is a kind of game for them to be able to know what one is trying to silence. But as soon as they get tired of the playful side of this “guess me”, their relationship risks taking a serious blow.

The rather proud behavior of Libra towards his entourage and the little consideration he has for his own wife are only setting fire to the powder. Since Libra does not regard woman as a free person who has the same rights as him, he will clash violently with his companion. First of all because she holds fiercely at her freedom, then because she is capable of casting hurtful words towards her companion and finally because she has tenacious resentment. Their couple will spend more bad quarter of an hour than reason.

To avoid such extremes, they will have to make efforts on their own. The woman must try to know what will please her partner and give him what he needs. This one is a very sensual being and the native must take it into account to keep the harmony in their union. Similarly, the Libra subject must not ignore that his companion does not live well without her freedom, he will have to let her act by letting go a little. If both partners respect these aspirations, they will come to an agreement that will allow their couple to resist the tests of time.

XScorpio male

The union between an Aries woman and a Scorpio man looks violent because the two partners have any traits but serene. Indeed, they do not know how to set limits in what they do. The woman, when she engages in something, does not even bother to measure the possible consequences of her act. Her partner has such a desire to succeed in his business that he is ready to engage in the battle to move forward. Everyone is overwhelmed by a passion that violence does not interfere with their relationship. They even find a certain satisfaction and willingly indulge in it.

If the native is too direct in her words and hurts her companion, she is also of remarkable carelessness in matters of finances. She turns out to be an unconscious spender and calculating the relationship between going out and entering the money, it’s not her thing.

Her partner, very courageous and very tenacious, is capable of many sacrifices if it serves his interests. However, he is loyal and never runs away from his responsibilities. Faced with such strength of character, the native must know that she will not be able to exercise any authority over him. Putting harmony in this couple will therefore pass by the acceptance of the partner.

The desire for independence of the woman in the field of sexuality will not collide with the conception of the man because it also likes the company of the women. The two partners must come to mutual understanding in order to experience a normal life. If the man does not keep his companion rigorous for her fantasies and her big expenses, and he does not make remarks about her lightness, he will seduce her. He must above all leave aside his pride and give himself up to the woman, showing her love. The Aries woman will be attracted by the willingness to undertake of her companion. This attitude forces his admiration and respect. Under these conditions, their relationship will have a certain serenity and will have the chance to be long.

XSagittarius male

Both the Aries woman and the Sagittarius man belong to the same sign of Fire. Many commonalities and affinities exist between them. Their similarities will not separate them if they are able to spare. Indeed, if the native does not hurt his companion by his behavior too frank in admitting to her, her incartades, he does not risk seeing her detach from him. The woman Aries can be very jealous and she can not bear that her companion is unfaithful to her. Their union is likely to be large. The man should be careful not to worry too much about his partner, his words or his behavior.

The Aries woman and the Sagittarius man form a formidable tandem in the professional field and can meet indisputable successes. Both love to command, but man has such a courteous and respectful manner of doing it that he almost succeeds in all his undertakings. Their complicity can come from this success. They will then be able to come to an understanding and to live an extraordinary union.

However, if they do not pay attention and fall into rivalry, they will soon see their couple fall into a resounding failure. This couple will have to have complete autonomy in the professional field. The exercise of two different activities will benefit them to avoid jealousies on both sides. Two beings animated by the same desire to become a leader can not live in a single specialty. They can not help but compete.

However, there are traits of character that bring them closer together: their generosity and their passion. And besides being generous, the Aries is also honest and faithful. Despite her tendency to sexual freedom, she can show herself capable of exemplary fidelity. On the other hand, her companion is not a good model in this field because he is always tempted by the pretty women he meets. But if they let themselves be guided by their passion and love, they will guarantee harmony and stability to their couple. Since they are both adventurous, they will experience truly enriching experiences.

XCapricorn male

Aries woman and Capricorn man will live a relationship not really easy to manage, their pace of life being so different. The native is very active in his actions and his decisions are very fast, while his companion is much more thoughtful and observes a great caution in everything that he undertakes. His sense of responsibility and skills make him an exceptional worker. To succeed and take the power he will use for a long time, he will put all his strength and perseverance into action. The woman can safely trust him because he is a character who is very discreet.

Their characters are opposed: Aries is very fanciful and demonstrative in her feelings, while Capricorn displays an absence of sensitivity to hide his shyness. In fact, he is an introverted man who hates effusions and overflows. The exaltation and the exuberance of his companion could upset his mistrust, he who respects social conventions to the letter.

But under his cold and harsh appearance, Capricorn is a great sentimental. His sensuality is overflowing if he allows it to be exteriorized. The woman will nevertheless be seduced by the prudence and wisdom that he shows in his attitude, these traits of character being lacking. She is neither cautious nor prudent in her undertakings, but sometimes unconsciously engages in business. Capricorn, on the other hand, needs this lightness to brighten up his life and bring a certain note of carelessness.

If the two partners succeed in making these differences, instead of removing them, bring them closer together, they will be able to smooth out the difficulties that seem to stand in the way of their union. However, they will have to find common ground at the beginning of their relationship to avoid tensions in their lives. They must also make concessions to accept the other in all their individuality. If they leave on this basis, their union will not face the risk of disintegration.

XAquarius male

This union is the meeting of two beings eager for freedom that will find their fulfillment if they seriously avoid the traditional marriage. Marriage means respect for certain social conventions, obligations to be fulfilled and constraints under which the couple is bound to comply. Neither the Aries woman nor the Aquarius man are ready to assume such constraints. They will have a very good understanding if they opt for common-law unions. Their relationship will be much more friendly than sentimental and they will be able to adopt behaviors that will allow them to be complicit in different situations.

The native is lukewarm in love because his sensuality is quite demanding. If he does not meet a woman who can be everything for him - in turn, lover, mother and friend - he will not be able to exteriorize his feelings. When he is in the household, he can offer everything to his companion if she is able to satisfy him by sentimental fantasies. The behavior of the native will respond to this high expectation. She will bring to her partner her passion.

Far from all pressures, these two characters always find common interests that push them to act and strive towards the same goal. They will not experience boredom because they appreciate well. The woman sincerely approves of the anti-conformist tendency of her partner and even more his detachment of material values. She herself does not attach much importance to it, and she will not be disturbed by her companion’s carelessness regarding expenses.

The extravagance and the exuberance of the Aries woman will respond to those of her man so that they will provoke a lot of splinters in their combination. The man will not feel at all offended by the authoritarianism of his companion or by her aggressiveness, for he knows how to arm himself with a certain indifference to hide his emotions. Besides, his intelligence and his intuition serve him very much to tolerate the attitude of the other. Their couple will live in serenity if they manage to moderate their desire for independence and to grant the other the minimum freedom that they need.

XPisces male

Between the Aries woman and the Pisces man, governed by two very different elements, Fire and Water, tensions are on program. They will have great difficulty in establishing understanding in their couple. Their characters present so many differences that they will not easily be understood. Man is a great dreamer evolving in an imaginary world where it will be difficult to follow him. If his companion tries to impose constraints, he will leave her because she is a creature rather rebellious in her own way.

The dominating will of the Aries woman will not suit the romantic nature of her companion. Besides, she will not be able to “chain him” and this failure will eventually tire him. At this stage, the native is likely to be bored by living with a man she considers bold and their married lives will suffer. On the other hand, she can be sure of finding in this partner a great sweetness that never fails to attract women. He will try to fill it if she shows him understanding and if she leaves him the freedom to live in his world.

The Pisces man aspires to find a home that ensures stability when he returns from his journey of imagination. Only, the native will not be able to offer it: she is not a good housewife. She loves adventurous life too much that she can not wait for it wisely. It is true that she is a woman who can devote herself to her family to the limit of her energy without having to pay for her freedom of movement.

Living together for an Aries and a Pisces will mean frequent conflicts. If the man is reserved and discreet, the woman is exuberant and authoritarian, but the Pisces is not the type to appreciate these overflows. He will try to smooth out the fights by his spirit of conciliation but his sensitivity will risk to irritate his companion. This behavior that wants to flee reality will only irritate the other. She does not find enough energy in her to face him. Thus, this couple will need a lot of tolerance and concessions to give the minimum of chance to their union.

Everything Wrong With Twilight: Forever Dawn

When writing, one of the most important things that a person must do is plan out what is going to happen. Of course, for many writers, these plans are sometimes forced to change. 

For instance, in Harry Potter, Rowling originally had the entire ending chapter written out, so that she knew where the seven books were going to be heading. However, somewhere around between the fourth and fifth books, Rowling realized that she’d written an epic plot hole, which caused much of the fifth book to be writing around it, and during the final books, everything had to change from plans.

Gravity Falls originally had the Cipher wheel as nothing more than a sort of decorative thing, but when Alex Hirsh saw the work, effort, and thought that people were going to in order to decode the thing, he eventually integrated it into the finale, even if it didn’t change anything in the end.

Lord of the Rings went through so many changes that the original plot ideas are almost unrecognizable. It’s one of the reasons that when people say that Jackson was building off of some notes on the Hobbit that Tolkien had been writing out for a rewrite, it doesn’t necessarily mean that they would have found their way into the rewrite, if there ever was one.

Plans change. That’s something that all writers have to understand. When you force a story to follow your original vision, you have major, major, problems.

And that was something that Meyer ended up doing.

Keep reading

anonymous asked:

Hi! I know everyone is talking about how they screwed up Arya's character on last night's GOT episode. I just wanted to hear your opinion on that?

Hi! <3

Well, truth be told, had you asked me pre-season 4 about Arya’s adaption in the show, I would have said that it was clear she wasn’t a favorite of D&D’s (though not the worst, looking at you Stannis,) and her character arc/characterization was messy (but not the worst, yet again.) After the major cuts and lightening in Harrenhal, some changes were bound to happen but still.

Now, after this season, I think it’s very obvious that D&D don’t give a crap about Arya and are content to absolutely wreck her character. She’s so messed up at this point, I don’t even want to know what they have planned.

Keep reading

anonymous asked:

Hello there! I'm about nine chapters into my first book (that I'd like to make a trilogy), which basically the story of three sisters who work for a top secret government organization. I've been SO excited about writing this for such a long time, so the desire to finish this it is still there. However I've been in a slump recently and I've encountered a plot gap that I don't know what to fill with. Motivation: gone. How do I pick myself back up from this? Thank you so much!

Motivation: Plot Gaps vs. Plot Holes

I hope you managed to find your motivation again, considering the lateness of this reply, but it’s a good topic to discuss nonetheless.

Motivation to write comes up in nearly every post I make on this blog, which certainly makes sense considering stories don’t exist if we’re not motivated to write them. But I think the first step to conquering any slump, especially when it comes in the middle of a lengthy project, is to understand that it’s normal. It happens. But as confident as I am that slumps exist for writers, I’m also confident that they are just that: slumps. And you will rise out of it eventually. Have faith in that.

The second step is a lot less abstract. It comes down to identifying the exact problems. You mention a “plot gap,” and I want to zero in on that phrase for just a moment because a “plot gap” is entirely different from a “plot hole,” and how you approach each one requires a different strategy.

A plot gap implies that your story has a progression that makes sense, but it’s missing something. Maybe you realize that it’s time for your climax, and you’ve barely exited the setup portion of the story. You went from beginning to conclusion without any real middle. And it’s not that the story is too short word count/page wise; it’s that your ending feels unearned. You’ve barely tapped the surface of the conflict, and you’ve barely shown who the characters are, and the ending just feels too soon.

If that sounds like the boat you’re in, take a deep breath and get creative. It’s tempting to start filling in with amusing subplots or flashbacks, but that’s not the answer. It’s time to complicate things for your characters in a big way. Because if your plot goes from beginning to end without a middle, your conflict is most likely too simple. You need more obstacles, perhaps more drama, more at stake, more conflict.

One of the oldest tricks in the book for upping the ante in a stalled story is the introduction of a dead body. In fact, I used it myself recently. Have your characters stumble onto a dead body. What do they do about it? Who do they call (if anyone)? How are they involved? Who killed this person? What else does the killer want?

A dead body can force you to pose lots and lots of questions to yourself, and coming up with answers to these questions expands your brainstorming. It will usually produce more problems than solutions, and if the story is lacking a middle, you want more problems. And as you devise solutions to those problems, you realize that you need more scenes to set up those solutions. And voila, your middle starts growing.

If a dead body doesn’t really jive with your story, think of something else drastic you could do. Think outside of the box, and don’t worry if your idea seems to derail your ending. Sometimes that’s better - because now you have to spend substantial time trying to get the story back on track to your intended ending, which will lengthen your story (and more importantly, get you interested again).

A plot hole on the other handmeans that something isn’t adding up. You have this amazing dramatic ending in your head, but the elaborate way your hero finally defeats your villain contradicts information you explained earlier in the story. Or perhaps you introduced something early on that seemed important but it never comes up again. Plot holes are kind of like black holes - places where you throw exposition or major details after you write them. Their importance to the story seems to disappear into those black holes, never to be seen or heard from again. Yet no one ever forgets them. If you lose too much into those black holes, the story loses its cohesion, and ultimately its impact.

Plot holes tend to fly beneath the radar, and they often don’t show themselves until it’s too late to fix them easily. But you most likely know they’re there, and that’s what destroys your motivation. So one way to combat that is to have a free writing session where you basically vent about all these plot holes. Discuss what’s annoying you about the story. What is it that’s making you not want to write it? Once you’ve exhausted yourself and completely beaten the crap out of your story, take what you’ve written and break it down into bullet points. What are the problems?

Once you know the specific problems, it’s up to you to find your solutions. They might not come easily. It might take days or even weeks to come up with solutions, so be patient with yourself. If you hit a brick wall completely, then go back to whatever caused this problem in your plot. What event or action in the story led to this particular conflict/problem? Once you’ve identified that, imagine how that event could result in a different outcome. This could give you a new problem to solve in its place, and maybe it’s one that’s a little easier to tackle.

Example: Let’s take two characters - Sophie and Sarah. You’re trying to figure out why Sophie would ever forgive Sarah for something horrible she did. You’re trying to think of something Sarah could do to make it up to her, or maybe some event that Sophie could go through that has her in need of Sarah’s companionship and support. Maybe some character that tries to force some kind of “make-up” conversation by tricking them into the same room. Nothing seems good enough to get them reconciled. At this point, let’s look at what caused this problem. It’s this thing that Sarah did. Could we change it? Could we make it less unforgivable? Could something else come between them that isn’t the result of one hurting the other?

So when you’re stuck, go back a step and consider why you got stuck in the first place. Maybe the problem isn’t where you’re at now, it’s where you were a few scenes ago.

When all else fails, try to remember why you started. Think about the things that used to excite you, and decide if you lost those things somewhere along the way. If they’re still there, try to bring them to the forefront of the story, or add more of them. If it was the banter between the characters, include more of it. If it was their rich backstory, find ways to show more of it in the story (avoiding out-of-place flashbacks), or if it was the villain that inspired you, find ways to make that villain’s impact even greater. Focus on what once excited you and chances are, it’ll excite you again.

That was a long response, but hopefully helpful!


Color Pie Friday: The Quest for the Pie-Force

Few game franchises have last as long as The Legend of Zelda series, and few television shows have aired so few episodes as The Legend of Zelda. Or spawned such ridiculous games as the Zelda titles for the Philips CD-i. What dark moments in such a classic franchise.

But those flops aren’t the focus of today’s article. The Legend of Zelda series is fairly unique in that it recycles the same cast of characters for adventures that span millennia, continents, and even timelines. The fantasy clash of good vs. evil replays throughout history, identical individuals returning each time to participate in this world’s cyclical stories. This article will be looking at the color identities of these treasured few, although some fan-favorite characters will be appearing in the end. So sit back, grab a bottle of moo moo milk, and let the lore of ages whisk you into the forgotten past.


Whenever evil threatens the kingdom of Hyrule, the Triforce of Courage manifests within a young man. This person isn’t anything special at first, and he has a habit of oversleeping important events. But destiny thrusts greatness upon this individual, tempering his spirit in the forge of battle.

Destiny plays a large role in the series, and it’s always a core part of Link’s character. The quest of fate is a Green one, a journey that was bound to happen by the cosmos. Link usually doesn’t begin as a mighty warrior. Sometimes he’s just a child. Sometimes he’s a blacksmith. But as he explores dungeons and finds treasure and fights evil, he grows into his destined role as the Hero of [whateverthethemeofthisgameis]. Link is often from the woods, so that’s a flavor point for Green.

Link isn’t just Green, however, showing off plenty of White traits. He shoulders the responsibility of protecting an entire kingdom, the kind of self-sacrifice that White is honored to bear. The side of battle Link fights on is important too. As a fantasy series, The Legend of Zelda features conflict between good and evil. Since Link fights for the side of good, he supports the group that believes in a moral world of right and wrong. Not surprising considering he wields the Sword of Evil’s Bane.


Princess Zelda is the corporeal reincarnation of the goddess of light, Hylia. She often assists Link with the power of light in order to defeat evil once and for all. Zelda is a just ruler, always acting to protect her people from harm. This usually involves sacrificing her own power to placate Ganon long enough to give Link the opportunity to strike the beast down. These traits center Zelda in White.

The Triforce of Wisdom is also an integral part of Zelda, although this series doesn’t talk about wisdom in the same way Magic does (which is Green). Wisdom in The Legend of Zelda generally deals with mental powers. Zelda often displays telepathic abilities and can peer into future events. She usually constructs plans for Link to follow, another Blue trait. Finally, Ocarina of Time saw her sneak around as Sheik (spoiler alert). This ninja-like transformation is infused with Blue’s desire for secrecy and deception.

I think there are definitely versions of Princess Zelda that push her towards Bant colors, adding Green in. Skyward Sword is one of these appearances, as Zelda’s storyline was very much infused with the same destiny-awareness that Link experiences.

It’s also worth noting that Zelda’s appearance in The Wind Waker as the pirate Tetra (spoiler alert) was less White and more Red. She’s very much a hothead that gets into trouble rather than an elegant princess ruling a kingdom.


Ganon lusts for power, imbued with the unending greed of the demon Demise. The Triforce of Power wells up in Ganon and drives him to claim the other two pieces of the Golden Power. Ganon wishes to rule over every kingdom as their omnipotent king. This is a desire deeply rooted in Black.

Some incarnations of the character manifest as Ganondorf, a Gerudo wizard who can still transform into the bestial Ganon monster. When banished from Hyrule in The Twilight Princess, Ganondorf was reduced to an ethereal mass of energy, able to possess Zant until the usurper king walked to Hyrule.

The ability to shapeshift combined with Ganon’s proclivity for deception give him a fairly regular Blue side to his personality. He often hides behind dummy versions of himself, drawing Link into tough battles that keep Ganon’s own body safe. Many incarnations of the wizard can also teleport, overwhelming enemies with strategies that complement his tremendous power.

The Gorons

A few races continue to show up through the Legend of Zelda franchise, the Gorons being one of the major ones. They are very Red creatures, living in the mountains and eating rocks. Gorons tend to let their emotional states greatly influence their actions. A happy Goron will dance and sing. A sad Goron will wail away in tears. An angry Goron will unleash its wrath.

Gorons are also master weaponsmiths, a trait that can also fit into Red. They are known for their unbreakable swords and mighty hammers, powerful weapons designed for offense, not defense.

The Zoras

Another oft-returning race are the Zoras (or Zolas if you go by early translations). Zoras are basically Merfolk, which flavorfully puts them in Blue. Important Zora locations are often hidden, only accessible by those able to solve a puzzle or move through the water.

The items Link receives from them also tend to be Blue in nature. Movement items like the Zora tunic and flippers physically alter Link’s ability to explore Hyrule. The hookshot is often found in water-based dungeons as well.


The Sheikah were an ancient tribe that swore to protect the Hyrule royal family. Impa is portrayed as the last member of this tribe and generally serves as Princess Zelda’s guardian. The Sheikah prefer to work from the shadows, giving them a Blue ninja quality. As guardians, they will lay their lives on the line for those they protect. This makes them also White.

It’s interesting that both Zelda and Impa are typically portrayed with the same color identity, even though those identities come from different places. It really speaks to the depth of the color pie when coincidences like this crop up.


One of the oddest characters in the Legend of Zelda series, Tingle is a thirty-five year old man who believes himself to be a reincarnated fairy. Or is trying to become a fairy. Or is already a fairy. Tingle’s identity crisis takes many forms.

Tingle exemplifies Blue’s side of the Green/Blue conflict. He doesn’t think being born a short, fat man should stop him from pursuing his dream of being a fairy. While the methods vary from game to game, Tingle thinks that some kind of magic will be able to turn him into a fairy if he tries hard enough. He usually gives Link something in return for helping try to find these transformative magic.

Otherwise, Tingle features many other Blue traits. He’s fond of flying around on red balloons, and Blue is the color of flying. He’s also a seasoned mapmaker, cataloging the landscape and translating ancient runes.


The princess of the Twilight Realm was turned into an imp by Zant. She followed him into Hyrule to seek the Fused Shadows, ancient artifacts that had been hidden due to their terrible power. Midna happened upon Link, who had been transformed into a wolf by Zant’s twilight. She struck a deal with the hero in order to obtain the Fused Shadows. Up until that point in the game, Midna looked like a typical mono-Black antihero.

Zelda heals Midna from certain death, however, and her attitude begins to change. Her hatred for the Hyrulians softens, and her partnership with Link becomes a mission to save both worlds, not just the Twilight Realm. Once we see Midna’s compassionate side, we know she is fighting Zant because she cares for her people, not just because she’s pissed about losing the throne. The second half of The Twilight Princess reveals Midna to be a White/Black character.

Midna’s dedication to the protection of her people reaches a climax when she destroys the Mirror of Twilight, severing the connection between her world and Hyrule. After all, the problem started when Ganondorf was sent through the portal by the Hylians. Breaking the bridge keeps the Twilight Realm safe from Hyrule and Hyrule safe from the Twilight Realm.

Skull Kid

Skull Kid is a recurring character who embodies Red’s mischievous side. A forest imp, Skull Kid spends most of his time luring people into the woods and playing tricks on them. Or stealing their stuff. Or beating them up. He’s not a very nice person. Skull Kid just wants to have fun with people, but doesn’t realize that his idea of fun hurts other people and pushes them away.

When possessed by Major in Majora’s Mask, Skull Kid’s loneliness becomes amplified into absolute destruction. Simple tricks become apocalyptic aspirations, turning Skull Kid into a puppet of the dark force within the mask.

A Tale of Swords and Souls, Eternally Retold

Wait, that’s not right…

Like most fantasy stories, the Legend of Zelda franchise tells stories of good triumphing over evil. Link, Zelda, and Ganon are brought together again and again, each one championing an aspect of the Triforce. These features tell a very White vs. Black story through the Green lens of destiny. It seems fitting then, that the supporting characters tend to fall into Blue and Red.

Now excuseeeeee me, planeswalkers, but it’s time to back to drooling over PAX announcements for Battle for Zendikar.

Frozen Story Disscussion with Emma

Emma Schulte

Hey guys. I saw your video and immediately began typing an extremely long response to it in a comment. But once I finished I figured a comment was probably not the best place for this sort of discussion. I hope you receive this message, and I invite anything you have to say in return.

I’m a student studying storytelling, so I can see why you make a lot of the points you make. But I have a vastly different opinion of this film than you do. I’m concerned that you’ve missed the film’s point and a lot of people on youtube are listening.

I think you guys kind of have the right idea, but you’re misunderstanding the focus of the film. The film’s point is not about the sisterly love between Anna and Elsa, it’s about Elsa learning to open up and let people in after fearing them for her entire life. Elsa is, in fact, the character of change in this film. Anna herself does not change. Anna is actually the one who is a plot device in order to bring about Elsa’s change. The things that you think would make the film better are already happening. Having the protagonist not be the character of change is not unusual. In Tangled and Paranorman, for example, the protagonist is also not the character of change.

In my opinion, the reason Anna is our protagonist is so we can understand how this significant change in Elsa is able to happen. Elsa is a selfish character who spends the whole film concerned about her own wellbeing. Anna is a selfless character who puts herself in danger for her sister and her kingdom without a second thought. Because the audience spends so much time with Anna and Anna’s selflessness, the audience is able to understand how Anna can sacrifice her life in order to help Elsa also become selfless. If we focused on Elsa the entire film, this ultimate sacrifice would come out of left field, and it would be harder to understand why Elsa is so moved by it. We would see Elsa in her ice castle and see Anna show up, but we would miss the fact that Anna is thinking only about helping Elsa and the kingdom.

A point on Kristoff in the climax. Elsa’s heart is healed by pure love and selflessness. The storytellers had to make absolutely sure that the audience did not misconstrue this for romantic love. So it had to be a family member who died for her and helped her change, or it might be mistaken as a love interest. To make it even more clear, they /included/ a love interest in the climax. They didn’t do this to say “true love is about sisters, not cute boys.” They did this to make COMPLETELY SURE that the audience did not mistake pure, selfless love for any other flavor of love, be it familial or romantic or whatever. And it is not a bad thing to get that point across clearly. Anna had to very clearly choose to help Elsa over herself (which Kristoff would do), and Elsa very clearly had to be helped by a love that was not romantic.

Then I also have a response to your ideas about the minor characters. About Hans… Hans did have a major function in the story. Hans was necessary to put Elsa and the kingdom in danger, so that Anna could sacrifice herself and teach Elsa how to love. Hans was necessary in the beginning to establish Anna as a character full of love and Elsa as a character unwilling to accept it. Hans is also the villain because then we see that he is a person filled to the brim with selfishness, and we only understand that because we understand how he manipulated Anna, our beacon of selflessness. The selfish villain is defeated by the love that Anna shows for Elsa, and therefore Elsa learns how to free the kingdom from the even bigger villain, which is the ice (which is actually herself.) This smaller selfless vs. selfish conflict teaches Elsa how to love and clear the ice.

Olaf the snowman also had an important role. His ideas about the world and his joys about summer all involve his own death. Olaf is optimistic and wants what’s best for the world, unaware of what’s best for himself. He wants spring to come back to the kingdom even though it will kill him. Olaf also begins melting in front of the fire while cheering up Anna and states “some people are worth melting for.” This is very important. This introduces the idea of ultimate selflessness to the audience’s mind. We see a more minor character start to die for someone else, and therefore when we see Anna do it for Elsa, we are not surprised. It doesn’t seem unprecedented or random because we’ve seen it already. Olaf is there to tell the audience what values they need to keep in mind in order to see them in Anna, and therefore see how Anna ultimately changes the heart of Elsa. It’s all about Elsa.

I do agree, however, that Sven didn’t seem to serve any point other than a logical one. I guess they needed someone to pull the sleigh, and they wouldn’t want to make some random reindeer that we never see again. Kristoff also had a logical purpose and not as much a thematic one, so his character is a bit flatter.

Okay. Next, the setting. I disagree that it was unnecessarily huge. I actually think it was a surprisingly small set for a Disney film. The three basic locations are the castle, the mountain, and the ice castle. We need the castle and the ice castle to be separate locations. Anna needs a home full of life to protect, and Elsa needs refuge that represents her inability to let people in. They have to be disconnected because they represent two vastly different things. It means something when Anna ventures out to Elsa’s refuge, and it means something when Elsa is forcibly taken back to the kingdom and can’t be alone anymore. We need the space between those things to make them harder to access from each other. Having the ice castle be inside the regular castle, well… complicates things. That makes a completely different story. Then Elsa wouldn’t be able to run away, which is pretty thematically important.

On the note of the beginning of the film. I think the flashback sequence was included because the story is about Elsa, not about Anna, and the flashback sequence is where we begin to see why Elsa shuts people out. She shuts people out because she hurt someone she loved and that scared her. This is vital, vital information! This is our entire exposition! Beginning at Elsa’s coronation would make Elsa’s ice magic into a twist, which would hurt Elsa’s story. Her ice magic is a symbolic tool. The audience needs to see how her ice magic makes her afraid. We can’t see this if the film begins at Elsa’s coronation.

I do agree that the trolls and the Kristanna relationship are both not really necessary. We did need the trolls to tell us that “true love heals a frozen heart,” however. We also needed Kristoff and Anna to be in SOME sort of relationship so that Anna can choose Elsa over it in the climax. This is not a dumb reason, but I agree that it’s harder to be okay with.

So then there’s your thoughts on the dialogue. I’ll admit I don’t quite understand where you think the dialogue has fallen flat. If you look at the story from the point of view of seflishness vs. selflessness, I do see the characters /acting/ on those ideas quite a bit. Yes, there are those two moments in the music that you pointed out, but I don’t think those moments represent the dialogue of the entire screenplay. I can see the conflict quite clearly without even thinking about the dialogue, just based on the main actions.

So finally we arrive at the theme. I should hope I’ve given the idea that I think the theme is different from what you guys think it is. “Theme” is a really vague term, so I tend to not use it when talking about stories. I much prefer things like “main point” or “change of the character.” It was indeed, in my opinion, about love, and all the characters acted quite accordingly to their viewpoints about love. Elsa feared it until the climax and acted that way. To show us how this is unusual and worth changing, Anna embraced it, even in the very beginning. We especially see this contrast when Anna wants to get married and Elsa refuses to allow it. The main point was not “what true love is,” the main point was a person learning how to love again.

Adam’s Response

Hey Emma, Thanks for this response! It’s a bummer you had to put it in a message, I wish the comment section was catered more to in-depth conversation. That way everyone would be able to read and further discuss the film.

Firstly, I’d like to address your concern that we’ve missed the point and “a lot of people on youtube listening”. I could be reading it wrong, but the way you say it makes it seem like a religion. Like we’re spreading our ideas of this movie and converting people to our side…which I assure you is not the case. We’re just trying to create discussion about story, we’re not saying we’re right, just that “this is what we think and here are our points on why we think that”. People disagreeing and challenging our ideas is half of it, how are we to become better story tellers if everyone is on our side? So I further question, even if our entire argument is wrong, is it bad that we’ve started the discussion?

Secondly, We are looking at the film in two very different lights and will not come to an actual conclusion if we stick to them. Much of what you said was explaining and justifying the purpose of specific elements in the film. For instance; Hans, we’re aware that in the plot that took place in Frozen he is an essential character. He has very specific reasons to why he’s in the film, as you mentioned, and without him those events wouldn’t have taken place and the film would fall apart. But that’s not what we’re saying…Our whole argument is based on the idea of, “when we left the theater, we were dissatisfied…why?” and everything we say is trying to figure why we felt dissatisfied. So when we concluded the story should have been simplified to focus more on the sisters and their love, inherently that would change the plot of the film. Concerning Hans, his goal to take over the kingdom is irrelevant and extra to the idea of the sister’s love, therefore in our simplified idea of the film, he could have been cut. But yes, in the plot of frozen, he serves a very important purpose. But at the end of the day, if we just talk about why he is in the story that doesn’t make me feel the movie is any better, which is subjective sure, but films evoke emotional reactions, and entertaining and engaging are two reactions that we did not feel while watching frozen. So we wanted to know why. So again, when you say that making the story within the castle would change the story…yes, that’s what we’re attempting to do.

Concerning your argument:
I do though still have a problem with your model of the story. I feel you are forcing it to be what you want it to be. Even if that is what the writers intended, I don’t think it comes out in the actual film. How can this be a story about Elsa? She’s only in like a fourth of the movie. I still stand by my point that we don’t even know Elsa. Try to describe who Elsa is without using physical details. I came up with she’s cautious and like’s to be alone, shown by her locking herself away to not hurt Anna and the whole “Let it go” song…If you come up with anymore please let me know (I would not say she’s selfish, which I’ll talk about in a sec). But that’s hardly enough characteristics for me to know her. And if we don’t spend enough time with her to even get to know her, how can we CARE about any sort of change in her. Saying the MOVIE IS ABOUT Elsa’s change is ignoring the three-fourths of the film that we spend with Anna wrestling with what makes a suitable romantic relationship. The reason that’s there is to create misdirection: They make the audience think “an act of TRUE LOVE” is a true love’s kiss (romantic love), but when it turns out to be Anna’s sacrifice it’s about (Sacrificial love). WHICH, I would be fine with redefining our previous ideas of the movie being about sisterly familial love, for the idea that it’s saying true love is sacrificial (selfless, as you say) love. But, the nature of that love is familial; it doesn’t go any deeper than that. The reason WHY Anna loves Elsa is solely on the fact she is her sister. Therefore the movie is about their love as sisters. Which is shallow at best, this is our main argument: that we don’t experience their love for each other. We KNOW Anna loves Elsa from “do you want to build a snow man”, but we don’t have a lot of time to feel to what extent she loves her. So we can only relate on the level of familial love.

So with that being said your statement that “The film’s point is not about the sisterly love between Anna and Elsa, it’s about Elsa learning to open up and let people in after fearing them for her entire life” can’t reign true. For everything I said up there. As well, I don’t understand your statement “after fearing them for her entire life”. It is not clear anywhere in this film that Elsa is afraid of anybody. What is clear is she is afraid of HURTING people. More specifically, hurting Anna. Which leads into my second argument.

You put a lot of weight on the idea of Elsa being a selfish character, “concerned with her own wellbeing”. Which again, I don’t see in the film. It seems rather selfless to me for her to lock herself in a room for 10 years just to protect the ones around her. She’s not concerned for her own wellbeing she’s concerned with Anna’s wellbeing, afraid of herself. Which actually complicates the film immensely and starts breaking itself down. Love is the resolution, it’s what melts Anna. But Elsa locks herself away to protect Anna…because she loves her. But if she loves her, would that not solve her ice problem? If anything I can see her fear of hurting Anna is a barrier to her expressing her love, but it’s not clear she’s afraid of it. I can definitely see your points about her being afraid of love and turning to selfishness, that lines up with “love melting the ice” and would therefore have a better payoff. The problem is I don’t think that’s actually apparent in the film. If you still disagree I need specific scenes that display Elsa’s selfishness and how she “fears love”.

On that note you bring up Hans and the scene where Anna and him want to get married and its importance in showing the contrast of Elsa’s and Anna’s feeling of love. This I very much disagree with. Elsa is saying what we’re all saying; you’ve only known him for a day…that’s logical thinking, not fearing love. Kristoph even says the same thing to her…does he fear love too? Your point about Olaf is really cool, and I’m glad you brought it up. I hadn’t thought about that before you mentioned it. Personally, I thought that scene came off shallow because of how shallow Olaf’s relationship is with everyone, we’ve known him for like a day. But in your model of what the story was supposed to be about, that’s a really strong scene and I’m all for it. Again I just don’t think the selfish vs. selfless model is apparent. Anna’s sacrificial love stems from a shallow familial love. We’re told that she loves Elsa just because she’s her sister, so her sacrifice isn’t grounded in any emotional experience that we have to their relationship. Therefore, it comes off weak and dissatisfying.

For the Dialogue I have already revised my previous thoughts. After a second viewing of the film I couldn’t find anything that seemed overly simple outside of the songs. So yeah, I was wrong there, the dialogue is fine.

Everything else you mention falls under the lines of “why it is important to the progression of the plot” which again doesn’t make the movie better; it just reveals the reasoning behind it being in the film. Everything in a film is there for a reason, especially animated films…that doesn’t necessarily make it emotionally engaging, entertaining, or impactful.

Lastly, Elsa can be the main character and I’m convinced it would have been a more “emotionally engaging, entertaining, or impactful” film. If Elsa was the main focus rather than Anna, we could have seen her struggle and fear of hurting Anna more, plus a longing to connect to her sister. It’s easier to get across that Anna doesn’t understand why she’s getting pushed out so she wouldn’t have to be the focus. Than from Elsa’s perspective you see Anna’s continual struggle to connect with her sister, which would only push Elsa’s regret more. So than when Anna does sacrifice herself, I think it would have been significantly more powerful, because now we see from Elsa’s perspective her confusion to “why would she still love me after all these years of pushing her away?” And then Elsa sees that her fear has been a barrier to expressing love to Anna. And that this love thing actually is what solved her lack of control for the Ice and that it’s been her getting in the way of herself all these years…I think that sounds so much more emotionally impactful. We’re not saying every story needs to have the character of change as the main character; just this one would be stronger if she was. Thanks again for your response, I’d love to hear any further points you have or if I’m making up or assuming too much of anything! Also, is it cool if we post your message and this response somewhere public to encourage this kind of long form discussion?

Good luck in your future film and storytelling endeavors!
adam (and Austin in spirit)