tell me i'm not the only one who liked this scene!

anonymous asked:

I need the story of the Underground Shakespearian Ring

Okay, so the school I went to for 9th grade had this really bizarre grading setup that I still don’t understand- for some reason, instead of the teachers writing up and grading tests and exams and the like, all the work was sent to an unknown third party for them to grade??? It made no sense.

Now, for the most part, the school had decent teachers, and they would just teach the curriculum correctly and then you wouldn’t run into problems with the grading. My English teacher was not one of those teachers.

So like, she hated me pretty early on- she was my homeroom teacher and thought it was disrespectful that I slept in homeroom in the mornings (I was on sleeping pills and they never wore off completely until around 10am), I never had the vocab homework in on time (someone kept breaking into my locker and stealing my vocab books I had to buy a new one like five times), she thought it was “inherently pessimistic and stuck up” when she caught me reading a book called ‘Ninth Grade Slays’ (it was about vampires, not her?), and during our Greek Mythology unit I kept correcting her about the name pronunciations of the gods (she pronounced Hephaestus as Hepatitis one time holy shit). 

Anyway, her feelings on me aside, her teaching skills were shoddy at best. But I had had way worse teachers, so had the rest of the class, and Greek myths are pretty straight-up in what’s going on, so no one really had trouble with the third-party tests.

Then we get to the Romeo and Juliet unit.

Now, fun fact: Shakespeare has always come pretty easily to me. Like, to the point where I sometimes forget/fail to understand that other people have an incredibly hard time translating his works. (I told this whole story to my friends in the school I went to for 10th/11th/12th grade and when the drama department put on ‘Midsummers Night Dream’ one year, more than half the cast tried to get me to translate their scripts and monologues for them lmao).

So, anyway, I’m just a girl, reading Romeo and Juliet and digging how it’s going…and then the teacher starts ‘translating’ it.

Um.

I cannot sift through all the bullshit this woman was spewing, but let’s just say that my favorite part is during Romeo’s spew about Rosaline, there’s one part where he says something like ‘with cupid’s arrow/she hath diane’s will’, and the teacher was taking this to mean Rosaline was a Super Lesbian who was breaking the law or something and running away with her lover Diane, which would be a rad storyline, sure, but like…I’m just raising my hand like “Um Ma’am, Diana is the Roman goddess of chastity. What Romeo meant is that she told him she’s sworn off love and is probably becoming a nun?” and this woman just got. So angry. Like, excuse me, you are a student, you’re here to learn, so you clearly don’t know anything about this (I read Romeo and Juliet for the first time in like preschool whoops). Anyway, she continues on making up her own plot to the play, and I…well I was basically Hermione Fucking Granger at this point I couldn’t just sit there and listen to someone be this wrong about something omfg??? She just got angrier and angrier and stopped calling on me after a while.

So for a couple lessons I’m just left to seethe quietly, but one day after class this girl I knew since grade school came up to me and was like “Could you…? Tell me what the hell we’re supposed to be learning?” and I didn’t even like her but I liked the validation of being someone’s Chosen Teacher so I wrote out a summary for her of everything we had covered so far so she could actually write a comprehendible essay for our homework that night.

But THEN the during the class when we got our essays back, she made a HUGE DEAL, like ‘oh Molly, it wasn’t bad enough that you’ve been failing this course material, now you have to drag your friends into it by trying to re-write the play?’ (l m a o). Like this bitch had literally tried to fight me on ‘Paris is the guy Juliet’s father wants her to marry’ and she didn’t even put a grade on my essay where I said the play only ended in tragedy because of how young and naïve the kids were, that if they had taken a breather and thought things through it probably would’ve been fine (it was a damn good essay and I stand by it). But anyway, she’s trying to make me out to my classmate’s as someone who’s trying to sabotage their education for laughs.

This backfired on her.

See, it dawned on people one by one, that she was only teaching the wrong material -> so they wouldn’t know the right material -> so when they eventually would take the exams they would only have her crazy answers -> which the third party graders wouldn’t know about -> everyone fails this course that’s like half the overall grade of the year.

Most students consider that a problem.

So suddenly the class has decided I’m the fucking Shakespeare Whisperer or something, and one by one start begging me for help. At first I was confused, because as I said, it’s so easy for me that I didn’t realize literally the entire class was lost out of their asses here. omfg. So I was really getting hassled here but I didn’t want my entire class to fail you know???? So I started meeting with people during study halls or texting them after school so they knew what was going on. And then they started telling people in this teacher’s other classes, including upperclassmen who were lost as fuck, so this was quickly spiraling out of control on my end, but overall people were really starting to understand the plays better!! So I was feeling really great.

But then, the teacher noticed that none of the homework getting handed in to her matched up with her crazy translations, and knew I was the sole person to blame (naturally). She literally tried to get me suspended over this, she went to the school’s disciplinarian!

Note: This guy, Mr. C, knew I was a God damn angel- my science class was off the charts, inappropriately awful, so every time one of our science teacher’s wanted to give the entire class detention, instead of calling Mr. C up to the class room as was the rule, they’d send me down to get him so he’d know to write up every student except for me. So when my English teacher dragged me in there he was looking her like “What on Earth could this girl have possibly done to piss you off?” 😂😂

And when she explained he looked at her for a very long moment, glanced at me with a signature ‘Office’ Reaction Face™ , turned back to her and was like “You want her suspended…for starting a study group?” and I was CHOKING.

So that really pissed her off and they started fighting and this was a very overworked and Done man so at some point he gave up and was like “I’m not suspending her but fine we can put a ban on the study group if you leave my office” omfg. So all the other students get notified and now they’re back to freaking out about the upcoming exams.

So like two days later, I’m at lunch, complaining about this to one of my friends who had a different English teacher and thus no problem, and I’m on this whole angry rant (Because I’m pissed, a bunch of kid’s grades are gonna get fucked up because of this! They just wanted to do well! I just wanted to help them!) and my friends staring at me quietly the whole time and when I finish I’m like “What?” and she’s just like “…Molly did you literally start up Dumbledore’s Army in our fucking school?” and I died on scene.

But then I started thinking about the comparison and I was like? You know fucking what? If Harry Potter can get those kids to pass their fucking DADA test I can help kids pass their fucking English Exam. Bring it the fuck on, Umbridge.

So I started Spreading The Word that anyone who needs help with their Shakespeare course can still get help, we just all need to meet up once to hash out the details. After some back and forth notes and deliberations, we ended up meeting in the school library, which was hilarious for a few reasons:

1) It was directly across the hall from this teacher’s classroom.

2) It was actually a converted janitors closet, way smaller than all the other classrooms, and there were like 50 people shoved in there; Not exactly an ideal Room of Requirement

3) The library carried no Shakespeare texts, but had the entire Harry Potter series on display to see when you first walked in

But anyway, despite the fact that we were literally three feet away from her door while we were doing this, our teacher was none the wiser of the meeting. We worked out a game plan- everyone writes out bullshit essays that align with what the teacher’s expecting. After she grades those and gives them back, they get them to me- slipping them in my locker, handing it to me discreetly in the halls or in another class, what have you. I then try to power through the dizzying amount of confusion radiating out of the teacher’s mouth and onto these papers, and more or less write out better translation of what was going on in whatever scene they covered, what the highlights they needed to know were, stuff like that, and then slip it back to them in similar discreet fashion (so the teacher/disciplinarian wouldn’t see me and get suspicious ; also because I was like 15 and wanted to feel like a super cool secret agent). They would then keep my copies and use them as study guides for the upcoming exams, where they would then answer all the questions correctly, the way the third party graders would mark correctly, and pass the exams + the bullshit essays would get them high marks in the teacher’s homework grades. The teacher never caught on to what was happening, just thought her students finally started paying attention to her.

All in all, it was a complicated mess, but it fucking worked. I don’t think anyone failed their exams that year. Will I ever be cooler? No. I think I fucking peaked when I was 15.

anonymous asked:

Forgive me if you've been asked this already but at what moment do you think Clarke fell in love with Lexa, or realized she was in love with her? I believe Eliza had trouble answering this at a con (I think she said it was before the bow though) so I'm wondering what you think.

Mmm that’s hard to say, and honestly, that’s kinda what I love about it. Because you can’t always exactly pinpoint the moment you fall in love with someone, right? Maybe it’s a feeling that grows gradually but unstoppable, maybe it’s like a wave hitting you at once, it varies. And that’s how I think it was for Clarke.

The way I see it, it was sudden for her at first and then everything slowed down and it naturally developed. It wasn’t love yet in the beginning, but there was definitely a realization that she had feelings for Lexa. Just look at her face after storming out of Lexa’s tent in 2x14. 

Why else would she looked so bothered? If she had just been upset about their argument she would have had an angry face. Instead she looks like she’s literally trying to physically restrain her feelings, whatever they may be. She takes that deep, shaky breath in an attempt to collect herself because, what the hell just happened inside that tent? Did Lexa really just confess she has feelings for me? And why does it affect me so much? What am I feeling? This is what I think is going through her mind. And then of course we have the confirmation of this, when she gladly replies to Lexa’s kiss. Even after she rejects her, there is no indication of that being a definitive rejection. There is no feeling of “I’m sorry, but I don’t reciprocate.” Clarke is not ready for a relationship, and it’s right that she was honest with Lexa, but she rejects her in literally the softest way possible, AND leaves the door open for the future. Not yet. That means she already sees herself considering a relationship with Lexa in the future, after healing, when she’s finally ready. And look at how tender and somewhat tamely longing her gaze is even after she rejected Lexa.

She is definitely aware of her feelings for Lexa here. But then the betrayal happens and ah, they take 46 steps back.

Now, of course, Lexa’s betrayal causes Clarke to close herself off. Clarke is angry at Lexa, she’s angry at herself, she’s in pain, every other feeling pales in comparison. And obviously, so much of Clarke’s suffering is tied to what Lexa did, so it’s definitely not a surprise that romance is out of the question when they first meet again. Clarke’s pain is consuming her, she is definitely not thinking about whatever she and Lexa had. And yet…

This isn’t a romantic moment by any means. But we’re talking about Clarke realizing she loves Lexa, and I don’t think we can’t gloss over this moment. When I say that I don’t romanticize this scene, it’s because this is not a cute moment. This isn’t a “oh my God, she loves her!” moment, this moment is sad. It’s painful, it’s heartbreaking, but it’s so damn important. Clarke can’t kill Lexa here. How much easier would it be for her to shut her heart out entirely, to blame Lexa for everything and just kill her without feeling anything? I bet in that moment, a part of Clarke wants that. But Clarke feels, and she feels for Lexa. She has these feelings and they won’t go away, not even when she’s at her lowest. So yeah, not a romantic moment, but definitely essential to understand Clarke’s complicated feelings for Lexa.

After the bow, Clarke is a little more trusting towards Lexa, but she’s definitely still closed off, she’s not ready to expose her heart yet. And we get to the “I’m doing it for my people” episode, 3x04. Right from the very beginning, Clarke spends the entire episode trying to find a way to keep Lexa safe, to protect her. But every single time she voices her concerns to Lexa or hell, even Titus, her preoccupation feels far more personal than political. She’s worried, she’s agitated, she even seems angry that Lexa won’t listen to her and step away from the duel. It’s a crescendo of apprehension and frustration and anxiousness as every single one of Clarke’s attempts fails, crescendo that culminates in an emotional explosion.

The second gif is particularly telling. Titus interrupts them, the moment is gone and Clarke finds herself having to face what just happened. Look at her face, at how she looks away from Lexa and sucks a breath through her teeth. She’s restraining her feelings, but she’s a little too late this time. And it’s not only Lexa who is shaken by Clarke’s emotional outburst, it’s Clarke herself too. She doesn’t catch herself in time and now she can’t pretend with herself that those feelings aren’t there. I think this is when the true first “shift” after the betrayal happens. Clarke wants to keep Lexa at arm’s length but Lexa might very well die that same day and, despite any resolution she had, the thought terrifies Clarke. And she’s so scared that she’s never going to see Lexa again that…

I could write an essay on all the emotions Clarke experiences before and throughout and at the end of Lexa’s duel, but the gist of it is that during this tense moment, with Lexa’s life on the line, she can’t bring herself to hide her feelings. It’s all there, on her face. 

Only when things settle down she is able to collect herself again. Lexa comes visit her that night and we see Clarke pull her walls up again. “I was just doing what was right for my people.” BUT! Even if Clarke is not ready to open up her heart again, that scene is infused with intimacy. Even Clarke’s “rejection” is filled with emotion.

Clarke is the opposite of cold here. The way I see it, she is pulling away because she’s realizing she’s close to giving in, but she’s not yet ready for that. It’s so clear that here Lexa is talking about what happened at Mount Weather too, this is another quiet apology that Clarke obviously recognizes. If she went with her feelings, Clarke would have to admit that she does understand Lexa, that in her heart maybe she’s already forgiven her. But in that moment it’s too overwhelming, so she looks away and avoids the conversation, avoids Lexa’s gaze, avoids having to focus on her feelings.

She literally keeps having to look away because things get too intense but at the same time there’s a tenderness in her eyes that she can’t hide. And once Lexa is gone and she can breathe… bam

All the feelings she restrained, everything she tried to hide merely minutes ago hits her full force. I said I think Clarke’s love for Lexa developed gradually, naturally, but if I had to pick a specific moment and say that’s when Clarke realized she’s in love with Lexa, it would be this one.

By the time we get to 3x06, I do believe Clarke knows and has accepted she is in love with Lexa, but she’s still struggling to admit it out loud, especially to Lexa. That episode happens roughly 7-10 days after the events of Hakeldama, and when we see Clarke and Lexa again, they are closer than ever. There is a sense of intimacy, of almost domesticity between them. They are comfortable with each other’s presence. There’s not really a reason for them being in the same room in that scene: Lexa fell asleep while reading and Clarke is drawing (there are other sheets in her folder, which makes me think she was drawing other things before focusing on Lexa). They don’t have to talk or interact, they simply are together.

When Lexa wakes up from the nightmare, Clarke doesn’t hesitate to jump next to her and comfort her, with soothing touches and calming, reassuring words. And then we get to the moment Lexa notices the drawing. A lot has been said about Lexa’s face, but instead look at Clarke’s.

This is the exact opposite of what I was talking about in 3x04. Lexa sees the drawing and is taken aback. That she doesn’t know whether she should hope for anything is another story, but the look she gives Clarke is very telling. And Clarke doesn’t avoid it. Yes, her first instinct is to play it off as something meaningless. “Uh, that’s not- it’s not finished yet.” But then Lexa looks at her, confused, surprised, a tiny bit hopeful, and Clarke meets her gaze and they just stare at each other. Look at that little pause she does before lifting her eyes. That’s when she chooses not to hide. As I said, I think that here Clarke has come to terms with her feelings for Lexa, but here for the first time, she doesn’t hide them from Lexa. Her look is just as telling as Lexa’s. They aren’t saying a word and this is one of their most honest, important conversations. Clarke is silent, but her eyes are speaking, her untold feelings are there, and maybe letting Lexa know isn’t so unfathomable anymore. Maybe, maybe Clarke this is the closest Clarke has been to being ready.

So this is what i think. The way I see it, it’s tricky and complicated and simply beautiful.

An observation of Markiplier TV

Emphasis on the observation part because I’ve never really been good with theories. I have a number of things to do today but unfortunately, I watched this video and now I can’t stop thinking about it. Hopefully this’ll quiet my mind and let me function, and who knows? Maybe it’ll help someone out there with their own theories too. :)

So, let’s talk about this scene:

We got one hell of a group here BUT what I’d like to focus on is their seating arrangement and what that could mean, because if there’s anything I’ve learned in videos like this it’s that EVERYTHING is by design. This entire table scene (props to the Editor btw) has so much hidden psychological subtext in it, so while I’m no professional I’ll still do my best to uncover them all.

First off, let’s look at the table: Rectangular with two long ends and two short ones. Pretty normal setting yeah, but is it beneficial to their situation (i.e. finding a way to ‘take control’) where everyone easily agrees? Nope. Because tables like these embody competition and a clear sense of authority, and I love this detail. It means that while they could’ve easily gone for a round table to promote cooperation, they go for this because of course, no one’s going to cooperate that easily.

This setting, however, works better in the business cooperative world, because you got two people (Darkiplier & Wilford) who can control the meeting from both ends of the table and are essentially the people everyone will need to look up to.

Here’s a great detail though: In this kind of setting, the more powerful of the two is usually the one opposite the entrance to the room. This allows him not just a vantage point of whoever comes in and goes, but complete control as well. And as we see where King of the Squirrels pops up:

Originally posted by antisepticjack

Which we can easily tell was from the right of the room based on the direction his body and eyes shift to, we can point out where the entrance is and who was right there:

But yeah, in this moment it didn’t seem like Will had control over King’s sudden entrance but let’s face it: he doesn’t care. He already knows that there’s more than one king in that room.

Speaking of, let’s move on to the seating arrangement.

Obviously we got Dark and Will at the ends as the higher ups, but I’d like to talk about Googleplier and The Host.

In medieval times, kings would often have their advisors right at their side at the table. This actually explains the term “right hand man”, because the king would have them close at hand to help him rule, unless of course, he was left-handed. Looking back at Dark’s antics, I have reason to believe that he’s either left-handed or ambidextrous.

Originally posted by http-darkiplier-403forbidden

Which I guess would make sense, considering that while Ed, Bim, Silver and Dr. Iplier were all concerned about their parts in the video, only Google and The Host were able to keep a level head and not lose sight of their main goal/situation.

Now the last thing I want to talk about is Wilford’s idea for Markiplier TV. I must warn you though because this is going to be a bit of a stretch so stop reading if you’d like BUT… I think he may have been inspired by Anti.

AGAIN, please bear with me. Jack’s mentioned before that Dark and Anti ever meeting each other was very unlikely, which in Dark’s case (being the alter ego that’s been pushed inside the most) could be more than true. However, Wilford makes up for this as he’s the only one not bound by the laws of physics and is, potentially, omnipresent. So it’s possible that he’s aware of Anti (since he was aware of Septiplier after all) and his methods (i.e. using social media to have his fans notice him which then gives him control) BUT, being Wilford, he goes about it in his own roundabout way which is, of course, TELEVISION.

So, yeah, this is all I can come up with. Excluding my attempt in theorizing at the very end I hope this was helpful. Now I’m just hoping that my thoughts on Antisepticeye don’t get too hectic and end up like this long wall of text. Thanks for reading. :)

anonymous asked:

I'm in the verge of being NaruSaku fan.. please give me some light on SasuSaku ;_;

[Click on my blog to read more. The tag doesn’t show my full post]

1.) SasuSaku is not typical. Their dynamic is unique. They are much more than the typical hero/heroine bff dynamic you always see in almost every shounen. Much more than a mary sue falling inlove with a dense marty-stu. They are a heroine and antagonist striving to find their way back to eachother; but failing throughout the story because of the circumstances they were both put in:


2.) Sakura’s feelings for Sasuke got the most focus than any other character’s feelings for another.

And Sasuke got focus on wanting to come back but not doing so due to his goals of revenge:


3.) Naruto didn’t want to confess his feelings for Sakura because he recognized that her feelings for Sasuke were much stronger than his feelings for her. That’s why he said that he felt like he couldn’t “confess” his feelings to her until he brought Sasuke back:

Maybe he had already realized that he didn’t really have a chance. And maybe even because had already seen the possibility of her feelings being returned:

which is why he leaves the room in this scene and peeks when he comes back just to make sure that it’s okay to come back and not interrupt something. He was being considerate, like Tsunade said:


4.) SasuSaku was planned from the very beginning of the series(before its conclusion) with minor slips of thoughts here and there; but despite everything Kishimoto admitted to always be thinking about SasuSaku’s union and how it would be so he sticked to what he was for in the beginning. He thought that Sakura suddenly loving Naruto wouldn’t fit her since she has loved Sasuke for so long. Suddenly loving Naruto solely because he was the easier option and a hero to the village would make her a horrible character. It would have made her shallow and out of character in the writer’s eyes. Sakura’s feelings for Sasuke were meant to be the spring that waits for the end of winter:

They were meant to be unwavering with no specific reason behind her love. If a person solely loved someone who lacked love because of a reason and that reason were to disappear it would be pretty sad if one of the few people who truly loved him stopped loving him because the reason was no longer there. Especially because Sakura’s love was warmth to Sasuke:

They were “the first” thing that “saved him” from “his darkness”. 

She was “the first” person that “saved him” from “his darkness”.

“…when his heart was about to be swallowed by Orochimaru’s wicked cursed seal again, he was rescued by Sakura…“ - Databook 1

“Sakura willingly and bravely calms the rampaging Sasuke under the influence of the cursed seal. Sakura’s heart, thinking of Sasuke, devours the wicked power.” -Databook 1

Notice how Kishimoto uses “heart” when talking about what they felt and meant to each other. Her heart was what rescued his heart. She was the one” who filled his lonely existence with the emotion called love:

Naruto and Kakashi may have also been there for him and it was constantly stated that they were also obviously important to him. So we can only assume that Kishi only quoted Sakura here because their bond was more than just platonic. It wasn’t nothing like sns or ks bond. Sasuke has never had these type of moments with anyone else but Sakura:

And Sasuke never considered the idea of playing at romance with anyone else other than Sakura. When Sakura told him that she loved him and that she wanted things to go back the way they “used to be” he “equated that” as playing at romance with her despite the fact of no one mentioning that he had to return her feelings:

So it was obvious that there was/had been something romantic growing/and going on between them.


5.) Sasuke cared enough about Sakura to be able to read her. He was able to read between her feelings “first”:

And cheered her up “first”:

Naruto wasn’t able to read her until part two 

And it was only when she made her feelings obvious,she didn’t try to hide them much, and he was paying attention:

(Here he responds by saying that Sasuke will come back and Sakura then thanks him internally[sorry, i cant find the panel])

Maybe he had kept being considerate of her feelings throughout the story; but once she fake confessed to him out of guilt and blame (thanks sai -_-) and she hinted that he should just drop the promise, he got mad at her and told her to stop lying to herself. He then proceeded by telling Sakura that she wasn’t even doing even doing it/or exhausting himself for her; but because Sasuke was his friend (a friend that was like a brother to him). And even tho it was obvious that at least part of the reason was for her, it wasn’t fully because of and for her like so many ns fans claim: 

After the fakession of guilt, he really didn’t pay too much attention to Sakura’s feelings anymore not until he saw how much she still cared because she voiced her feelings out loud. That’s when he rethought his promise to her and was re-determined to fight for both of them. For both of Sasuke’s and Sakura’s sake. 

He didn’t realize how much Sakura was suffering because she loved Sasuke and he only went back to keeping his promise to her once kakashi pointed her pain out:


6.) I’m not denying the fact that ns had a strong bond or that Naruto’s feelings weren’t shallow; but their bond was always mostly focused on trying to bring Sasuke back. Not romance. And Sakura’s feelings for Sasuke were always highlighted to hint that they were much stronger than Naruto’s feelings for her:

[i’m pretty sure i missed much more moments than this; but you get the point]


7.) SasuSaku happening was obvious due to Sasuke hinting to actually wanting to be with team 7. And that meant to going back to the bonds that he himself acknowledged that existed:

So his redemption was to be expected especially after it was foreshadowed through our heroine’s eyes:

Coming back home meant laughing next to his brother in arms, his teacher, and the girl who filled his lonely existence with love and looked like “his lover” at a certain point in the writer’s eyes:


8.) Contrary to what antis say, Sasuke actually loves Sakura very much and it was and has been written by the authors hand and no one else:


9. So in summary: See the light anon see the light because prt 1 consists of mutual romantic hints and chemistry between SasuSaku and a dense Naruto that cares about his teammates; but can’t tell what’s going on most of the time until Sakura explains the situations to him. Naruto is willing to sacrifice himself for those he loves, yes; just like Sakura and Sasuke would do for him and eachother; but he couldn’t see through Sakura’s depression nor could he feel when Sasuke was leaving the village. The one to see through Sakura’s depression was Sasuke. The one to feel when, where, and if Sasuke was leaving the village was Sakura. They were able to feel and read eachothers feelings much better than ns ever did during this prt of the story.

And prt 2 consists of Naruto and Sakura determined to bring their lost teammate that aspired for a future with them. Nothing of what he felt for them ever changed. It was only his curse of hatred and the goals that constantly blinded it him and drove him to do things that he regretted/regrets terribly. Prt 2 was about losing; but eventually keeping hope. And although the slips for the red herring of ns did show, Sakura’s feelings for the broken boy never wavered, and Sasuke being saved and returning to his usual different bonds with them was/were already confirmed/foreshadowed. So his happiness with team 7 was to be expected.


10. This must seem irrelevant; but our fanbase is the most passionate and spirited ever. We went through so many hardships and we still manged to be number 1 out of all the relevant/possible romances of Naruto:

We were basically among the characters that were born first:

[Notice how it says “created” and not “presented”]

So i guess that its only normal that we remain the most popular since we’ve been at it since 1999 maybe even before that in Kishi’s head ;) [hehe thanks for that reveal Sugiyama~]


source

source

I don’t deny bad apples. I know every fandom has them; But out of all the fandoms we are the ones less time visiting videos that aren’t about our ship just to bash. You go to google plus and the ss fandom get attack from every single fandom including nh. Same thing in Narutoforums. Same thing with youtube. Same thing in twitter. Same thing in pinterest. Same thing in facebook. And then theres tumblr here people who claim to ship sasusaku equally to another certain ship passive aggressively bash our ship for some weird, odd reason. But regardless, were always shining bright and our fanbase still remains big no matter what. We have so many amazing artist that cheer us up when the studio screws up,funny and meaningful memes when an anti crosstags, and we remain as lively and as strong as the spring that awaits for the end of winter. :)

john and sherlock telling the story of how they met as a bedtime story, featuring: 

  • bickering over whether it’s dishonest or just dramatic effect to start with “it was a dark and stormy night” because “it was a very mild january afternoon” just doesn’t have the same ring to it
  • john as the Poor Broken Knight, which sherlock takes offense to because obviously john is the Knight of Light, to which john responds that he wasn’t the Knight of Light back then, he was a dreadfully poor knight with a broken brain that none of the healers or sages could fix, to which sherlock huffs but he allows it. 
  • sherlock as the Prince. “just the Prince?” “well, what else? the Consulting Prince?” “i rather thought the Pirate Prince.” “now who’s being dishonest. fine. you were the Pirate Prince.”
  • mike stamford as the fairy godmother, who tells the Knight that he will need to save the Prince three times, and the Knight is like, come on. who’d want me to save them? and the fairy godmother laughs and says, you’re the second person to say that to me today (because, you see, he also told the Prince that the Prince needed to save the Knight).
  • so the Knight agrees to go meet the Prince, and as soon as he meets the Prince he really does want to save him so when the Prince tells him to meet him at the Old Crone’s Tower the next day, he goes. “you better not let mrs hudson hear you calling her that.” “it’s fine, the Old Crone took an herbal soother an hour ago, she’ll be out like a light.”
  • anyway, the Knight goes to meet the Prince, and Tower is wonderful but kind of a mess, and it’s still a mess honestly and it would be nice if the Prince would take the rubbish out on his own sometimes. but the Knight can’t possibly imagine that the Prince will want him around, or he’ll get tired of having a broken Knight around soon at least, or– “john. john, no, even then, it was important. i wanted you here. it felt. it felt important.” 
  • then the Hunter interrupts, and tells them that a Dragon has been terrorizing the village. so they go to the scene, and the Knight learns that the Prince has the power of Sight, where he can See all kinds of things that other people can’t. “it’s not a magic trick, john.” “it felt like one.”
  • the Hunter’s Hounds bark and nip at the Prince’s heels, but the Knight isn’t sure if he needs to save the Prince from them, so he says nothing. “i should think not. anderson and donovan? i could handle them.” “oh yeah sure you did. mmmhmm. right.”  
  • so the Prince used his Sight to understand what had happened to the villager. “though the Prince did need the Knight’s help to See it all.” but then: poof! the Prince disappears! “sorry! i wasn’t used to having someone with me!” “i know, i know. it was very mysterious, though.”
  • and the Knight is kidnapped by the Wizard of Spooky Bureaucracy, stop laughing i couldn’t think of a better name, who threatens the Knight and the Prince. but the Knight defeated him by passing his test of loyalty to the Prince, and the Wizard of Spooky Bureaucracy transported him back to the Old Crone’s Tower as a prize, where the Prince was waiting for him. and so the Knight defeated the first evil. 
  • then the Prince took the Knight for a grand Italian feast, and cast a dangerous spell on him that healed his brain and let him run again. the Knight thought maybe the Prince was hitting on him, and he tried to hit on the Prince back, but the Prince– “panicked.” “oh, is that what you call that?” “yes. i hardly expected to get as far as i had.” “and the next seven years were just what? extended panic?” “…basically?” 
  • once the Knight was healed, they went back to the Old Crone’s Tower, where the Knight wanted very very much to kiss the Prince but they’re interrupted again by the Hunter and his Hounds. and the Hounds sniff and dig and unearth the Prince’s past, which was very rude. “i never did figure out why you stayed, after you found out, you know. about all of that. with your sister.” “i know. i thought about it a lot actually, about whether i was just signing up for more of the same. i’d given up on her because it was just a waste of my time, you know?” “so why did you stay?” “because i knew with you, it would never be a waste of my time. i would always fight for you. i will always fight for you.” “you’ll never have to fight that fight again, john. i promise.” “but if i did. if i did. i would fight it. you’re not perfect; i don’t expect you to be. i just…i only expect that you will let me fight for you.” “john. john. mmphhhhhhhmmm” “mmmm” “mmmmm” 
  • okay okay okay. anyway. the Knight knew then that he did have to defeat the Hounds, and he did defeat them by believing in the Prince. by listening to the Prince, even when the Hounds barked at him not to. and so the second evil was defeated. “and the Prince had just about fallen in love with the Knight.” “shh. we’re not there yet.” “i was, though. i was.” “i know. me too.” 
  • and then they had to battle the Dragon, who managed to steal the Prince away while making it look like the Prince had abandoned the Knight. but the Knight knew better already, and knew that the Prince needed him, and so he hailed a chariot and raced after them. and he arrived just in time to see the Prince doing something very, extremely, insanely stupid, and so he pulled out his sword and shot it straight into the Dragon’s heart. “it was stupid.” “i know it was. i haven’t a clue what you thought you were doing.” “i dunno. either i was right, and i deserved everything i thought we maybe could be, or i was wrong, and you wouldn’t have to go through the disappointment of me.” “sherlock holmes-watson. that is the stupid thing you have ever said in your life. come here.” 
  • and so the Dragon was defeated, and the Knight saved the Prince, and the Prince saved the Knight. 
  • and they didn’t live happily ever after, not quite yet. but they did start living, and that’s the thing about endings after all: you have to live through the beginnings and the middles to find out just how brilliant and fantastic and good the endings can be.

anonymous asked:

I thought I was over of how bad s4 was but I'm not and it's now 4 am and I can't sleep. The thought that's making me loose sleep is why did they have to make Mary part of the team? It's just the two of them against the rest of the world, right? why did they have to love her and include her in the cases? Why can't at least Sherlock see how horrible she is? I know I'm being rediculous but it gets to me it really does

Hey same ridiculous insomniac anon do you know what gets to me too??? John cheating on Mary even if it’s texting… people argue that it’s in character he’s a womanizer after all but isn’t he the guy who’s loyal very quickly? What do you think?

Hi Nonny!

Yeah, I never understood why they went the route of making all of S4 essentially NOT about John and Sherlock. I liked the visuals of T6T and TLD, but Mary REALLY fucking killed it for me, especially the magical redemption arc they chose to give to her. The whole season felt really ooc for me, and Mary being more of Sherlock’s partner than John was REALLY rubbed me and many others the wrong way. The way the narrative was going, it SHOULD have been her being on the run FROM them, not working WITH them.

Because of this, I really, really feel like there is a false narrative at play here, that the entirety of S4 is being told like a blog entry (hence why they stopped the blog AND used the title of one of the entries to clue us into this fact) because of all the OOC-ness, inconsistencies, fourth wall breaking, “scene jumping” and the “fakeness” of Mary’s death and TFP. The season contains a sense of adventure,  is romanticized (though in the wrong direction), and fantastical elements, just like the blog. I found it SO bizarre that Sherlock CONSTANTLY kept saying “I’m Sherlock Holmes!”… just like John’s blog would have done. And TFP for me is John’s TAB, so there’s already an alternative narrative. Anyway, this went way off topic, but you get me. John’s blog is playing out on screen. Why, I don’t know; perhaps to show the general audience that not having John and Sherlock in the picture together doesn’t work, since most of the entries are told as if John is standing on the sidelines watching events unfold – ergo making the season seem very not-our-show. Plus, calling the first episode “The Six Thatchers” after a blog entry on John’s blog and ENDING the season with Mary narrating is so telling to me.

Second part of your ask: I AGREE. It’s really weird to me, simply because we SAW John was essentially done with dating by the end of ASiB because he was happy with whatever he could get with Sherlock. And it took him TWO YEARS to mourn Sherlock before he decided to move on, and for whatever reason, Mary was able to establish that trust with John within six months (I presume she emulated what she thought John wanted, but she’s a professional manipulator). He only stayed with Mary because he didn’t think Sherlock wanted what John wanted, and perhaps also some manipulation on Mary’s part, convincing John that Sherlock would never love him like she loved him.

So then when John is “cheating” I find it really OOC, if only because I just can’t see John ever wanting to get involved with anyone every again after the heartbreak of both Sherlock and Mary. Though, I still hold the belief that it’s really Sherlock John is texting in T6T, and we are told otherwise because of the false narratives (given that I think that the episodes are being told like a blog entry, it’s only natural to assume lies about the things truly happening are present). And maybe it was “just texting”, fine, but it just doesn’t really fit John’s character to me unless that person is Sherlock or unless John is doing another plan behind everyone’s backs with Mycroft (ie. the texting is coded and E is an associate of Mycroft). He has serious trust issues, even an emotional affair with some rando on the bus just doesn’t jive with his character arc they’ve built up over three seasons.

I don’t know. People say it’s in his character, but I just have a really hard time seeing it, especially since he knows the kind of person Mary is (killing Sherlock for trying to tip off John), like… I can’t imagine he would do that again. Mary’s complete shift from the character she was in S3 is what’s tipping me off the most about a false narrative, and as such we can assume the other characters may not be who they seem to be as well, at least in my opinion.

anonymous asked:

hello. first of all, i wanted to say i'm in love with your dio analysis. i think i agreed with everything you've written about him so far. you're truly amazing at getting his character! anyway, i wanted to ask - do you think The World's power fits dio (like his personality, life, etc)? and how? i'd love to hear your thoughts over that. if you answered such question in the past i'd love to be linked. have a nice day!!!

First of all, thank you!! for that.  Yes I definitely think The World’s power fits Dio (and there’s a scene in SDC where Enya tells Dio his Stand is a guardian spirit that’s been protecting him his entire life, which I kind of love the idea of).  Za Warudo’s my favorite stand so this reply’s a little long and freeform:

For me, it’s always felt like Dio’s been motivated primarily by 2 things – freedom and mastery – and Za Warudo’s timestop taps into both of these.  First off, Araki’s explained Za Warudo’s timestop as the manifestation of Dio’s desire to be free from the constraints of Time. That’s a nice parallel to his becoming a vampire in Pt.1, it’s like first Dio mastered time by becoming immortal and then later on he’s actually able to force-stop time and to move through it alone.

One of the cool things about the timestop power is how it creates a stage - not a stage like an actor would have during a performance (it’s sort of the opposite since Dio’s actions during the stop are unobserved), more like a stage in the sense of a space where Dio can take advantage of everything that’s around and set up the most effective and diabolical way to attack. The reason Dio’s been such a formidable adversary is b/c he’ll use anything and everything that’s around him during a fight.  The timestop really exploits this fighting style, creating a space where he can set up elaborate attacks on his victims. 

The World’s power feels like it’s been custom-built as an enhancement to Dio’s improvisational fighting style.  And Dio’s a villain with a strong sense of play - he likes toying with his opponent - so obv The World’s perfect for enabling that too (ie, Polnareff on the stairs). The idea of the timestop setting up a type of gamespace is cool too because it relates way back to Dio’s love of chess in Pt.1, so much so that he literally uses the phrase “Checkmate” after setting up his multi-knife attack on Jotaro.

All this ties back to this idea of mastery, The World’s power lets Dio hone and test out both his skills and his limits.

Personality-wise, the idea of a space in which only one can move relates back to Dio’s confidence and arrogance, really.  Dio consistently thinks of himself as a man who stands alone and at the top, and during the timestop that’s pretty much the case.  Stopped time is Dio’s alone.  That’s why he gets so unnerved when Jotaro moves just one of his fingers a little during that stop, it’s like a personal affront to Dio because no one should be even allowed to approach his level.

(fwiw another element in line with Dio’s persona is it’s audaciousness. “Toki yo Tomare” is a command-type phrase, Dio’s directly commanding Time itself to stop.  It’s notable that Dio’s less-confident Part 7 counterpart, Diego, doesn’t use that “yo” command.)

And then there’s just the strength element. Araki talks about how when he wrote Pt.1 he asked himself, “who’s the strongest man in the world?,” the way a child would ask.  In Pt.3 and with Za Warudo it’s like Araki’s applying that same question to stands, asking, what’s the strongest stand power in the world?  In later Jojo parts the timestop becomes one of many OP powers but in Pt.3 it’s so huge that it’s almost unthinkable. So it’s like both Dio and his Stand have their genesis in this same question.

And ZW’s power is physical.  I get the sense Za Warudo’s timestop isn’t just a matter of its master exploiting the flow of the timestream (I think of Kira’s Bites the Dust that way, it’s like Kira and Killer Queen and everyone else slip back through timestream). With Za Warudo though, it’s as if the Stand’s physically forcing the gears of Time to a standstill. It’s drawn this way:

obv it’s figurative but Araki’s emphasizing The World’s raw strength here. 

And there’s other stuff, like how elements of The World’s design create a mechanical, robotic impression (versus Star Platinum’s more organic design).  Dio’s got a stand that looks a lot like an unkind machine, it feels symbolic of Dio’s own ruthlessness and cruelty.

Anyway that’s a lot of my thoughts on it.  Thanks for the ask!

Nurseydex & Acting Class

Eyoooooooooooooooo, the CP Resident Shakespeare Ho/Theater Major is back with more shamelessly using these characters as a means to talk about my major Nurseydex Antics!

As anyone who follows me knows by now, I’m a theater major. Dex and Nursey are comedy gold, and the thought of them working with any of the texts I’ve worked with is just DELIGHTFUL.

(Click here and here for my other Shakespeare Ho/theater major posts)

So without further ado!

  • Dex needs and art credit. Just one more fucking art credit. But his schedule is insane and there’s only one he can take this semester
  • it’s an acting class
  • He doesn’t want to do it. Mostly because his boyfriend will be I N S U F F E R A B L E
  • But he just wants to get this over with so he registers and just waits for Nursey to find out
  • Nursey is delighted. And registers for that class, too.
  • “YOU DON’T NEED ANOTHER ART CREDIT, DEREK!” “Dude, you really think I’m gonna miss this?”
  • Dex doesn’t really know what to expect going in, but he definitely wasn’t expecting the prof (let’s call him Casey) to be this hot middle aged guy who dresses like Indiana Jones and lives in a cabin and recites Shakespeare to trees
  • (we’re talking Adventure Indy, not Professor Indy)
  • (what no I’m not basing him on my prof Kerry who is also currently directing me in Julius Caesar why would you think that)
  • Nursey and Casey hit it off because Casey is this great mix of Passionate and IDGAF and Nursey wants to be him when he grows up
  • Dex’s main reaction to him is “?????????” until he starts talking about his cabin in the woods and then they bond over Practical Shit like fixing window panes and Nature
  • (the rest under the cut because this always happens my posts are always long af)

Keep reading

Love Conquers All (On Sherlock Season 4)

I’m currently re-watching Season 4, simply just to indulge myself, and mainly because I personally loved it. I thought I was done expressing everything I have to say about the matter in this post, but there has been an unending sh*t-storm still looming over S4 that has gone beyond what I had expected. Not to mention that things I’ve seen on Twitter earlier regarding the so-called Norbury movement.

I am not dismissing the fact that this season had its flaws, but there’s a significant meaning to it all that some people are dismissing because they’ve been blinded by their own illusions that I would want to highlight. For someone who had cried over and mulled over these episodes more than the past 3 seasons, this season gave my love for existentialism a baseline that tugged at the heart – the very reason why I wanted to talk about it.

Originally posted by esterlocked

Just a brief explanation, existentialism is the belief that life has no meaning in general. To quote Moriarty, “Staying alive… So boring, isn’t it? It’s just… staying.” However, what I like about it is the idea that society or any other factor is not responsible for giving life it’s meaning – it is solely up to the individual to discover it on their own.

With that said, I think this is why this season resonated with me so much, and I find the chaos in some parts of the fandom frustrating, especially to the point that the writers are being attacked for this. So as usual, I have to say something about it. Because instead of writing articles for work, I’m thinking about Sherlock.

Anyway, I’m just gonna go ahead with my point.


The Six Thatchers : Horrors Of The Past

This may be my least favourite among the three, but the message of this episode is clearly simple: we all have horrors that will come and haunt us in the future – and how we face it all comes down to the path we choose. 

We live hundreds, and even thousands of roles throughout our lives. And we all have our past; things that we regret, hate, cringe at, miss, still believe in, etc. But whatever that past might be, what I got from TST is that you can never run from your past as it catches up to you, but it is one facet of your life does not completely define you.

Originally posted by akajustmerry

Death has been played with through the past seasons that it seemed all too mundane to us now, in terms of the context of the show. But S4 is here to correct this notion in Mary’s persona. With Mary saying that Mary Watson was the only life worth living, it showed that we get to choose which part of our lives we live out the most.

Same with John and his ‘cheating’. To be fair, I’m pissed at the fact that this was completely out of character. But when the series culminated, I understood why they have to do it. We saw what we wanted to see in these characters as they were presented to us – John was supposedly honourable, kind, and courageous, but what is this? Who is this new John? 

This is where I head to my next point. 


The Lying Detective : Being Alive And Human

This episode made me cry buckets, to be honest. And it is because this is all about changing what you know about these characters and seeing them all in a different light. 

Here we see a Sherlock not led by the mind but the heart, a John who was weak against temptation, a cheater, someone who looked jealous from having the spotlight all on the detective – it showed that no one is ultimately good and that someone’s facade is not who they entirely are. It shows that everyone has their ups and downs because that’s what humanity is about. It illustrated that everyone was capable of being angry, desperate, conceited, weak, lonely, alone, etc. It highlighted how these characters are broken – especially Sherlock – and how redemption can mean so much more to a person. 

We all have our flaws, our downfalls, our agonies; but who are we really, at our most vulnerable? And who are the people willing to believe in us even if we’ve shown them our true, and sometimes, faded colours?

Originally posted by halloawhatisthis

“Taking your own life. Interesting expression, taking it from who? Once it’s over, it’s not you who’ll miss it. Your own death is something that happens to everyone else. Your life is not your own, keep your hands off it.”

This is a plea. That shutting down and ending your life is and should never be the answer. This is one of the most beautiful pieces of dialogue I have ever heard, and it’s a very upfront message about warranting a value on your own life. And for people to threaten the writers of the show that they are the ones who caused the lives that are put in the line or the self-harm that will happen due to their distaste for TFP is devastating to me.

And yes, there have been people tweeting Mark and BBC that they are and will be responsible for these lives, which is just unfair.


The Final Problem : On Love And Redemption

I’ve seen people questioning why Benedict said ‘love conquers all’ in one interview before the season aired. There has also been statements that this season will be ‘groundbreaking’, which others failed to see why, leading to the claims that the showrunners are queerbaiting.

Now, every single show, every single actor, not just in Sherlock, but basically everywhere, is being put in the microscope because they need to identify with something, and that they need to represent a cause — which I get! I advocate for this! But, just when the world is being careful about mixing up their characters or when they are inserting a gay character just because now, society is demanding them to, Sherlock had already presented that years before (note that some TV shows only became more open to having gay characters around late 2014, early 2015-ish onwards because people are becoming more vocal about it as inspired by those bold enough to make a first move, e.g. Glee). 

Here, we have an openly gay character (which is still another topic of debate but I stand by it when I say Irene used the term gay loosely), had openly gay actors play brilliant and unstereotypical roles, and for God’s sake, Mark Gatiss is a gay man who is behind this brilliant show, and  that’s the very reason they passed it off as normal. They didn’t do it in a way that we always have to be reminded that the character is gay, that there has to be a sex scene just to prove that they’re gay… it’s just there – again, as one facet of the characters. Sex, as something that has been explicitly expressed in the show, isn’t the only thing that defines a character or their relationships with someone else, and I appreciated that. They had a story to tell – the story of these characters as a whole and not just one side of them. 

And personally, I did see why they made their claims as indicated by my chosen title. When this season ended, Sherlock who claimed to have never been attuned to his emotions, had his eyes open and had embraced that he was also human, flawed, and is capable to love IN ALL FORMS. 

Originally posted by fangirlhani

He learned to value his life because of what happened to Mary, he had admitted that he also succumbs to his impulses with Irene Adler (texting or beyond that, depends on what you want to believe), he fully realised that he would never ever want to hurt and make Molly feel like she’s being used by him because she’s his friend, he was able to extend a more human side of himself to John more than he did before, he finally understood and accepted Mycroft’s intentions and actions which I think mended their relationship significantly (this one hits me to the core so much), and lastly, he discovered that if he was left in the air in isolation, he might have ended up like Eurus, which is why he never wanted to make her feel alone again. 

To me, it is groundbreaking because it left that cliche of someone running off into the sunset in the end and it’s all butterflies and rainbows. They wrapped it up with the characters still broken, but living through it day by day because someone chose to love, accept, and help them heal despite their flaws. 

It is what it is, they keep on saying, because that’s how life is. It can be unbearable and it can most certainly be shit, but in the end, whether you ship Johnlock, Adlock, Sherlolly, Sheriarty, Mollstrade, Mystrade, etc., if we all let love – self-love, romantic love, familial love, platonic love – all kinds of love in our lives, it will help us conquer all, within and beyond this show. 

i live for isak calling even baby?? let’s talk about it more. 

  • the exasperated “baby” on the rare mornings when even doesn’t cook him breakfast because they’re both too exhausted by the night before (seriously, isak made even play fifa until 1am before he could admit that he sucks and no matter how many games they play, isak will always lose). even takes the last of isak’s cocoa puffs, and shit, isak had actually been looking forward to them?? but alas, he’d stepped out of the shower a minute after even, and his cereal stealing boyfriend had struck (even steals his clothes his heart and now his chocolatey cereal too?? isak has half a mind to break up with him). isak’s pouting at even, and even feels so bad for him that he offers isak some of the cereal. but even’s the kind of guy who pours his cereal into his milk and gulps it all down at once, and isak is very particular about only pouring a little bit of cereal into his milk at a time, so he just turns up his nose at even’s gross soggy abomination. 
  • isak hates hates hates waking up in the morning, and trying to figure out how to get isak up when they both have school is just trial and error. isak would appreciate it. it’s like a scientific experiment, except it’s one where the consequence would be an armful of grumpy boyfriend and no kisses until at least 10 o’clock. even has tried everything from blasting nas at full volume, to getting magnus in there to say something stupid because isak’s reflex is to drag him, but he’s found out that the most effective method is to pepper isak’s face with kisses until he blinks awake groggily, because he’ll pout, and he’ll say, “goddammit, baby,” like he’s actually annoyed, but he’s giggling so hard that even’s not buying it. 
  • the boys make fun of it so much!! the first time even laughs at him for dipping a chocolate chip cookie into nutella at lunch, isak says, “don’t fucking judge me baby you literally only make recipes with sour cream” magnus parrots “baby?? baBY??” jonas and mahdi are waggling their eyebrows so suggestively that isak blushes bright red. he tries to stutter out an excuse, like, “that’s not what i said. i said maybe?? KB?? bey bee?? haha i just like the concept of beyonce in the bee movie ok that’s totally what i meant.”
  • of course even ruins it all (because that’s all he’s good for) when the whole gang is getting kebab after school and isak can’t get his shit together because he didn’t really sleep last night and he’s spilling his food all over the table. even leans over with a pile of napkins and scoops it all up with a fond “baby” and a chaste kiss to the lips. the boys go fucking wild. 
  • they always leave each other with a peck on the cheek before separating for classes - and as much as isak wants to pull even closer until they’re intertwined, until they’re causing a scene for those fucking dance chicks he can tell are watching them - he knows he’s not ready for that yet. it’s soft and sweet, just a brush of his lips as he whispers, “bye, baby, see you after school.” it still gives isak a rush when he remembers that even will keep coming back to him, and no matter how long they’ll spend apart - whether it’s school cockblocking them, or when even has bad days  and refuses to let isak come over - they’ll always end up like this, safe in the circle of each other’s arms. 

also thanks to @strangetowns​ i can’t get even’s obsession with sour cream out of my head 

MESSAGE DELIVERED | pt.1

→ Pairing: Jungkook x Reader / Namjoon x Reader
→ Genre: fluff, smut, angst, humor
→ Words: 2,517
→ Rated: NC-17
→ Warnings: alcohol, language
→ Summary: A text message sent to the wrong number turns into a long lasting affair between two people completely opposite one another.
→ Note: This is an old thing and actually the first thing I wrote after the accident, and I decided to post it again because I kind of hold it close to my heart ? It’s not all going to be texts between the characters, but quite a lot of backstory and stuff the more we get into it. It’ll be told from both Y/N’s POV and Jungkook’s. Please enjoy! :)

Parts: 01 : interim : 02 : coming soon

cr.


The first time you receive one it’s in the middle of the night.

At first you simply stir in your sleep, turning around as if that will somehow stop the annoying buzzing resounding from under your pillow. When it doesn’t, you grab the cursed device and flip it over in your hands, wondering whom of your stupid friends decided to be an excruciating pain in the ass this late.

Keep reading

Fall For You (M) | 03 (Final)

gif ©

Summary: You hate a lot of things about Jeon Jungkook; you hate his arrogance, his reputation, and his pet name for you to name a few. But most of all, you hate how right it feels for you to fall into his arms, and how easy it is to fall for him.
Word Count: 13,742
Genre: fuckboy!Jungkook, college au, sprinkling of feelings
A/N: I feel like I’m sending my child to their first day of kindergarten oh my goodness. I hope you guys enjoy the last part!!

Part 01. Part 02 + Drabbles

Mood music: X

A mistake.

It absolutely had to be a mistake.

There was no way you were in love with Jeon Jungkook, absolutely no way in hell you had feelings for him that ran any deeper than discontent. It had been the moment, the conversation with Jungkook, the awe you’d felt when he showed you his forest. You had gotten caught up in that moment, and your mind had tricked itself into thinking you liked Jungkook.

You didn’t love Jungkook.

You loved his dick. And that was all.

Keep reading

Jason’s telling the Bellarke story, and it’s romantic.

*I’ve never written meta or spec or anything like that before, I am a known shitposter, but I had a lot on my mind so just stay with me while I attempt this.

Ok guys, I know the finale has us all drowning in our tears and the looming hellatus has us quivering in our boots, but I am here to offer a bit of Blarke hope.

Jason is writing romantic Bellarke. It’s in the story, and after the finale and his recent interviews I am more confident than ever. He might hate us, and want to torture us, and stretch this slow burn out as long as humanly possible, but he’s telling the a story and Bellarke is at the center of it. 

Now to my “evidence” or whatever:

The Writing

Let’s take a look at our most iconic Bellarke episodes over the last couple of years and also look at who wrote those episodes, focusing on two writers in particular: the show runner, and the man he was ready to hand over the reigns to.

  • 2x16: the iconic “together” moment, and the entire good-bye scene (Jason)
  • 3x02: Bellamy losing his shit, going after Clarke, the cave scene, “WE CANT LOSE CLARKE” (Aaron and Wade)
  • 3x15: “I trust you”, “You’re not the only one trying to save someone you care about.” “START WITH BELLAMY BLAKE” (Aaron and Wade)
  • 4x01: oh boy, “Thanks for keeping me alive”, Bellamy losing his shit both times Echo threatens Clarke’s life, the very intentional cut to Bellamy’s face when Clarke talks about /exa, the return of “princess” (Jason)
  • 4x12: roadtrip flirting, worried Bellamy as Clarke takes off her helmet, the blarke of it all (Aaron and Wade)
  • 4x13: the hug, the face caress that haunts my dreams, the entire head and the heart discussion, “I’ve got you for that”, “I left her behind”, Clarke radioing Bellamy every single day for 2199 days (Jason)
    • *yes I know other moments like the s2 reunion hug, the s3 beach hug, and the list episode were by other writers, but that’s not my focus

Are you seeing the pattern here? Either Jason or Aaron/Wade write the most important Bellarke scenes of each season. We have the biggest known Blarke writer on staff (imo) and the actual show runner responsible for these treasures. 

THEN, you add the fact that Jason was ready to let Aaron take over, if his other pilot got picked up. He trusted Aaron, a known Blarke stan, to continue the story he was telling. Isn’t that suspicious? 

But just think, our 2 biggest Bellarke episodes were written by Jason.

Planning

So we’re all aware that Jason says he knows where he wants the show to go for about 6 seasons - even if I still think 3a was a mess and not the original storyline for reasons. He has planned out how this show ends and he’s had that ending since he started. 

He wouldn’t be responsible for writing such iconic (romantic) Bellarke moments and interweaving that into the plot if it didn’t go anywhere. The man is trash and I wouldn’t trust him to buy my groceries, but he knows what he’s doing and he knows how to tell a story, even if he gets it twisted sometimes. He knows where to starts and how to end - which is why he writes the first and last episode of every season.

Their Story

“First of all, Bellamy and Clarke have always been at the center of this show. It has always been the story of — on some level — Clarke and her relationship to Bellamy. […]” -Jason Rothenberg

I think we’ve all learned to take Jason’s interviews with a grain of salt, but he knows what story he’s telling.

The show is about them. He is writing their story, and he has been from the beginning. Which is all especially evident when you look at the S1 script leaks that blessed us this year, and what was cut out, aka DAY TRIP. 

It’s been them from the start and it’s been romantic from day one. 

Anyway, This was my first shitty attempt at meta or spec or whatever and probably my last, but I think it’s just important to realize what’s going on despite how shitty Jroth is, he’s telling a certain story. 

But add on to this if you want. Thanks!

Would Mori kill Chuuya if Odasaku wasn’t enough to drive Dazai out of the Port Mafia?

Short answer: No.

Let’s make two things clear before we begin with the long answer. First: The blogger who put out this idea is one of my favorite BSD theorists, I respect them. This is not an attack or an attempt to take them down, just me protecting my sanity by saying what I think need to be said. Second, I might come to the fandom because of Odazai, but I stayed for Soukoku. So no, I’m not doing this because I hate the pairing.

The premise that I want to talk about was the idea that if Odasaku’s death hadn’t driven Dazai out of the Mafia, then Mori would kill Chuuya in order to finish the job.

Sadly, unless we are in one of those soukoku fanfics where Chuuya’s an innocent tsundere angel in a star-crossed romance with Dazai and Mori’s barely anything more than a devil incarnate made specifically to create the perfect Soukoku habitat, then, no, this scenario is not happening.

Now, even the blind can see that Dazai and Chuuya have a strong bond. The closest I could describe it without dipping into fangirl fantasy was brothers, complete with the sibling rivalry and childish pettiness everyone would display in front of their annoying family member. They’re also partners whose bond was made stronger by hell fires. I mean,

(Really, Bones?)

But is this enough to make Dazai leave? Probably. Would Mori risk it? No.

First, let’s look at the mother bear that has taken Chuuya as her own; Kouyou. As we could see in the manga, she has taken Chuuya either as her protégé, son or at least a little brother as seen from how he called her ‘Ane-san’ or the archaic, formal Japanese for ‘older sister’

If Kouyou is even half as attached to Chuuya, who she has known for years, is as she was to Kyouka, who only knew her for a few months, then do you even think that she will stay silent if she knew Mori killed Chuuya simply to drive Dazai out? To put in the way that would win the Understatement of The Century award, she will not be amused. Look at this scene where Kouyou told Tanizaki why she couldn’t let Mori die;

That’s the reason Kouyou is supporting Mori. When she found out he’s basically doing the same thing as the old boss, she will fight back.

Best situation Mori will lose her support; this is serious because not only she is an executive she is also one of its strongest ability users. Second-degree situation, she will kill him both in revenge and demeaning him no longer a leader deserving of her support.

Worst situation, Kouyou would defect from the Mafia, taking her faction with her along with the people loyal to Chuuya (Notice how caring Chuuya was to his subordinates, it will not be a farfetched to say he got many people loyal to him that would be enraged by the boss killing him off for such a shallow reason) It will break the Mafia in two with a possibility of a gang war fueled by revenge in Yokohama.

Think of the casualties, both monetary and personnel, if this is were to happen. Will Mori risk all this, just to drive Dazai away? Short answer is no. Long answer is no way on earth.

Second, the circumstance of Oda’s death. I hate to admit this but in objective point of view Mori’s scheme was a stroke of genius. It’s carefully planned for the best outcome with minimal casualties.

Positives of Oda dying

1.       The most obvious, The Gifted Business Permit. This is the biggest reward that came out of this sacrifice. With the Mafia should no longer fear the government’s punishing fist if they step out of the line, the freedom to do as they like as long as they’re not caught red-handed by military police.

2.       The cut-down to Port Mafia’s budget. As Odasaku himself has mentioned, Mori calling low-ranking members to his office meant they would be disposed of, indicating this has happened before and will happen again. This is important because the money and resource going to those useless goons can go to more important places, like weaponry or bribery. By killing off Oda, Mori take out a useless member of the Mafia whose only worth was calming marital problems, scaring thieving little kids and hunting for cats.

3.       Cementing Port Mafia’s name to not only the other gangs in the area, but also to the government. This would also be true for International scale since Mimic was supposedly a fearsome terrorist group with a powerful leader.

4.       Dazai lost his best friend and leave the Mafia.  With him gone, so was the threat to Mori’s reign.

Negatives:

1.       Losing one member with irreplaceable Ability that would have been OP if not for his creed to not kill.

Now, to Chuuya.

Positives of Chuuya dying

1.       Dazai losing his partner and driven out of the Mafia

Negatives of Chuuya dying.

1.       Kouyou starting a war on Mori, breaking Mafia in half, and possibly demolishing the whole thing to the ground.

2.       The loss of Mafia’s best martial artist

3.       The loss of the subordinates under Chuuya who was loyal to him

4.       The loss of one-half of Soukoku, will affect the morale of people under him because he was known to be strong both physical-wise and ability-wise.  

5.       The loss of people’s trust to Mori’s credibility, making rebellions and defection more common.

6.       The loss of the man who was so invulnerable he would be made Executive sometime in four years, when he was only 22.

As you can see, the negatives of killing Chuuya far outweigh the positive of having Dazai driven out of the Mafia by having him dead. Then this brought up the question; what would have Mori done if Dazai didn’t get out of Mafia?

The answer is: none. Seriously.

This is because there is no way Dazai won’t defect after that. Just like the planning for getting the Permit and getting Oda out of the picture, this has been calculated by Mori from the very start.

Notice this scene,

Now here’s the light novel version

The question arising from it is as such: why would a boy considered to become an Executive soon, scour the remnants of dead soldiers with its lowest-ranked member?

There’s a high possibility Mori was purposefully nurturing the friendship between them. This is also prevalent in the way he didn’t make any negative statements when he remarked about Oda having close relations to Dazai and why he didn’t take out Oda before this, or at least intervene with their friendship.

The same way Dazai’s confident in how his plans will come to fruition, Mori is also a being cut from the same cloth. There is now ay Dazai won’t leave the Mafia both because this has been carefully calculated for a long time and because Dazai himself will know that with this, he is no longer welcome in the Mafia.

I rest my case.




On the other note, the reason why I need to say all of this is because this theory is because how it makes Chuuya’s role into just a foil for Dazai, disregarding all of his worth as an important Mafia member. I love Chuuya, and not even as Soukoku. I love him because of how he is portrayed in the canon.

Killing off Odasaku was logical, it has many upsides and very little downside. Killing off Chuuya when he was clearly an important member was not only out of character, it distort both him and Mori as characters deserving respect.

Chuuya’s a person of his own rights, is important to many people and have people important to him and the list is longer than just Dazai. He’s a beautiful character with well-developed personality, have a life, ambitions, dreams and achievements of his own and I hate it when people just made him out to be a one-dimensional character whose world revolved around Dazai. Let me tell you; he’s not.  

anonymous asked:

so I kinda got this idea from that one IwaOi ask you got from another anon recently, but top 5 dysfunctional but great relationships between two characters?

top 5 dysfunctional relationships anon) I meant Haikyuu!!, but if it’s easier for you to find examples for anime in general, I don’t mind if you do that either :3

Hello bean! I’m actually so dead because here you say recently but this ask is from 16 days ago (this is just an example of how much it takes to get to a specific top 5, rip), but it’s finally time! (For context, this petal is talking about this post, where I was asked if Oikawa and Iwaizumi have a healthy relationship with each other). Ok so, this is gonna be a multi-anime answer, since Haikyuu has not so many examples of that. 

General disclaimer: more than dysfunctional, these relationships are not so healthy but the bottom line here is that, no matter what, they all love, trust and understand each other more than anyone else.  

1. Shinji and Kaworu (Neon Genesis Evangelion). Well, this is not the most painful ship ever for nothing. It doesn’t matter that they met and parted ways in the span of one (1) episode, that time was enough to change Shinji, forever. Kaworu came to Shinji in his darkest hour and was the first person to understand and treat him with love. He was the first person to ever tell Shinji “I love you”, and he’s the first person Shinji said “I love you” in return. This is all nice till you discover that Kaworu is not an actual person, he’s an angel, an angel sent to erase humanity, an angel Shinji is forced to kill, or better, an angel who decided that his only free will act was letting Shinji kill him. And he does, in what is to this day the most heartbreaking scene I’ve ever seen. And if killing the person you love the most or making the person you love the most kill you is not dysfunctional, I don’t know what else is…

Originally posted by elitbelit

(in the reboot he dies in front of Shinji and not by his hand and I don’t know what’s worst honestly) 

2. Oikawa and Iwaizumi. I already said everything that needs to be said in the post I mentioned above. They are dependent, violent, aggressive, unable to communicate in the proper way, the reaction to everything the other does is incredibly exaggerated, they fight, they yell…but still they made each other the beautiful people they are today. They are always in perfect sync, they are each other’s number one supporter and would kill and die for the other on the spot. They are connected, both physically and mentally so, maybe way more than they even realize. They are not a perfect couple, but still they are unbreakable. 

Originally posted by manganimae

3. Rin and Haruka (Free!) Speaking of overreacting people, here you have a perfect example. These two are literally obsessed with each other, neither of them could sneeze without affecting dramatically the other’s life. Despite everything, they understand each other without having to say a single word, they would give up everything for the other, they could have had it all…but still they are the classic couple that can’t be together but yet can’t be apart. You can’t escape relationships like that. 

Originally posted by amazing-rin

4. Hinata and Kageyama. As I already said here, I firmly believe that Kags is unconsciously replicating the iwaoi dynamic with Hinata. They are just as violent, intense and obsessed with each other, but they have the potential to create even a deeper and greater bond. They already live in such a perfect sync they can’t function properly without the other (especially Hinata has still to find his place without Kageyama), so much that they are afraid of being torn apart. If you read the manga, you know what I’m talking about, if you don’t, just think of the last shot of Kageyama and Hinata at the end of season 3…while the rest of the team was happy for the news Kageyama just got…were they really?

Originally posted by kagurane

5.  Yahaba and Kyoutani. The iwaoi curse strikes again, and how couldn’t it. The setter/ace relationship is pretty strong on its own and I think Yahaba’s new leadership is gonna deliver us some good character development. I really hope they’ll find a healthier way to communicate and Yahaba will keep his slamming-his-boyfriend-against-the-wall thing just for the bedroom. 

Originally posted by urushenna

p.s. as crazy as it sounds, Bokuto and Akaashi are not in this chart and here I explained why. 

Thank you for your message!

Ask me my top 5 things!

anonymous asked:

Do you think Clarke had already subconsciously fallen for Bellamy when she was with Finn and Lexa? It seems like both Finn and Lexa had questioned her about this in an indirect manner.

Short answer: Yes.

Long answer:

The attraction has been there since season 1. That’s for sure. I mean look at her face. They were openly flirting in this scene.

And Finn saw that too.

I think she started having feelings (in a romantic sense of the word) for Bellamy in season 2. She asked specifically if Finn and Bellamy made it. Twice.  She put Bellamy on the same level as her love interest. (Did she ask for Monroe? Sterling? Octavia? No.)

She ran through the camp just to get to him and the hug… even Bellamy himself was shocked. Octavia noticed (”There’s something I thought I’d never see.” + her facial expression is also very telling) Damn just rewatch it. Pay a special attention to Clarke’s facial expressions. Compare Bellarke hug to Clarke/Octavia hug - that’s a massive difference.

Clarke still felt guilty for closing the door on Bellamy and Finn. That’s very evident in that scene by the fire in 2x05.  Bellamy offered her understanding. “It had to be done.” He made it very clear that he’s not holding it against her, that he understand why she did it. He reassured her she’d done the right thing. And that’s something Clarke needed at this moment. She was kinda on her own in the Mountain. She was suspicious and trying to get out while the other were trying to convince her they’re finally safe. Then she espaced with the knowledge she left them all behind in MW (which is not what happened but I’m pretty sure Clarke thought something like this). And then she reunited with Bellamy and suddenly she was not alone. She got her partner back. 

And then in 2x05-2x08, they were back in their co-leaders mode. They were so in sync…. Since this episode (meaning 2x05) Bellamy is the person she trusts the most. The person who understands the burden of being a leader and carries it with her. She started falling for Bellamy in these episodes. She still had feelings for Finn but she was not exactly “with Finn”. She wasn’t Finn with since the moment Raven’d landed on the Earth.

The narrative backs me up in 2x09. Clarke just killed Finn and one of the first things she said to Bellamy in this episode is “I can’t lose you too.” Again, Bellamy is put at the same level as the person she’d said “I love you” just a few hours ago.Later in the episode L/xa (sorry guys but thi will show up in the tag anyway since the anon used the correct name) and Clarke had conversation about leading their people and L/xa confided a story of her lost love to Clarke. Clarke needed to stop the pain. She wanted to become a strong stoic leader and make sure she will never have to feel this way again so she built the walls around her heart and emotionally shut herself off. “Love is weakness.” And what is the first thing Clarke did? She sent Bellamy away with the words “I was being weak. It’s worth the risk.” This is Clarke trying to be like L/xa - strong leader devoid of emotions. And what is Clarke’s last line in this episode? “Love is weakness.” Hmmm interesting. So yeah I think she started realizing she has feelings for Bellamy in 2x09 but that’s one of the reasons she sent him away. 

She realized her mistake pretty fast because basically all episode of 2b is Clarke being constantly worried about Bellamy (2x11 is a perfect example but it’s in every single episode). Yet she never stopped believing in Bellamy. She never doubted him. She always believed he’d succeed in this mission.

Even L/xa saw it and called Clarke out on her feelings for Bellamy. “You care about him.” “I care about all of them.” “Yet you worry about him more.” FUCK EVEN L/XA SAW IT.

“…besides, we lost contact with Bellamy.” she’s blinking the tears back again.

And their reunion in the tunnels in 2x16? Clarke is speechless, she’s just staring at Bellamy in wonder, blinking the tears back. She absolutely stunned and the relief is written all over her face.

Moving on…. she didn’t tell anyone else but Bellamy that she’s leaving (maybe expect for Monty). She didn’t even tell her mother. Anyways, did she kiss Monty goodbye? No, she didn’t.


Now for the second part of your question. I’d like to start by saying that Clarke probably spent plenty of time thinking about the delinquents and Bellamy in particular during those 3 months between s2 and s3. Now I’m talking about platonic Bellarke. She thought of him as her partner, friend, co-leader. Se thought of him as a person who pulled that lever with her.

And then she finally saw him again when he came to rescue her. He caressed her face and hair and she’s absolutely stunned. She just started at him with wide eyes. She begged for his life, her voice breaking and she’s do anything - even sacrificing her own life for him (don’t forget that she didn’t know Roan is taking her to Polis, she thought he’s taking her to Nia who wants to kill her). This scene kills me every damn time because it’s the least platonic shit I’ve ever seen. And Roan noticed (and as the season went on, he kept on noticing).

Then everything had changed because Roan brought her to Polis and Clarke was forced to play a role of Wanheda, She became a political figure. War was about to happen and Skaikru was in danger. She didn’t trust L/xa (for a good reason because obviously L/xa betrayed them before) so she had to stay to make sure L would keep her word AND SHE WASN’T READY TO COME BACK. NOT YET. That’s why she decided to stay in Polis in 3x03. If you watch the scene closely, you can see that the conversation with Bellamy wasn’t easy for Clarke. When he walked away, she had to take a moment to blink back the tears and take a deep breath before she was ready to turn around and play the role of wanheda again.

Since 3x04 she was falling for L/xa. But at the same time, she never stopped having feelings for Bellamy. It is possible to love two people at the same time. But I believe Clarke didn’t realize the true nature of her feelings for Bellamy.

One of my scene is definitely their argument in 3x05. I analyzed it in details so you can check that out. Clarke was stunned. She was absolutely crushed. But that scene also kinda woke her up. She was on her own for 3 months, she was isolated from her people in Polis (which is the main reason I’m always saying she was a terrible ambassador) and this argument finally showed her the reality and the consequences of what’s been going on in Arkadia in between 2x16 and 3x05. She realized she’s not the only one who’s hurting. She saw how broken Bellamy was. And she believed her they could fix it all. Together. But she said a few words that triggered Bellamy and he did what he did (again, I talked about it in detail a few months ago).

After the debacle in Arkadia, she focused on playing the role on wanheda again in order to keep her people safe. She was getting closer and closer with L/xa and eventually she fall for her…. and we all know how that played out. Clarke lost another person she loved. At that time, that was all she could think of. Everything happened so fast and then there was the flame, Titus, Murphy… she didn’t have time to think about her feelings. She was overwhelmed. Her feelings for Bellamy were still buried inside of her though without her realizing it.

The Bellarke reunion in 3x11 is interesting for many reasons. Clarke expression can be interpreted many ways but I think she’s also shocked she saw Bellamy, relieved he’s alive and relatively well (she had to blink to make sure he’s really standing there in front of her) and she was also scared. She didn’t know where they stood because the last time they saw each other he handcuffed her and she tazed him.

3b was about finding their way back to each other and Bellamy realizing his feelings for Clarke. Yes, I think that at this point Bellamy is aware of his feelings for Clarke. Clarke on the other hand is not but the feelings are definitely there and have been since season 2. Those feelings never disappeared and I hope we’ll get to see Clarke bringing these feeling back on the surface and becoming aware of her them.

Even if you don’t do art, gifsets, edit videos and photos, write fanfics, you are important and fandom wouldn’t exist without you.

That also doesn’t mean that you’re not an artistic type of person.

There are two types of artistic personality:

a creator, who writes, paints, draw, do videos etc.

and a consumer.

The person, who sees art, for whom it’s made. Without them it wouldn’t matter, because there would be nobody to see the creation. It’s one of the most important roles, but many people do it badly.

How to be a good recipient?

First of all, you need to give feedback. Every time you take time to see/read something. And it can’t be any feedback. It must be good.

Doesn’t matter if it’s a fanart, fic, video, poem or something else. Give kudos. Comment it. Even if you didn’t like it. Especially, if you didn’t like it. It takes only 30 seconds to write something and it shows the author that you saw their work and took time to think about it. It really motivates them.

What you should write?

Well, anything you want. “Great job, keep going!”, “I love the way you did it!”, “Wow, amazing work, I’d love to see more!” is enough. Really.

 Of course, if you decide to say something more it’s great! Authors love to read your thoughts about their work. Tell them about the colours they used, how they match the scene and character, how they build the atmosphere with words, how you love the character development, the typhography they made. Tell them about everything that made you “wow, this is amazing”, about the piece that made you smile or cry or laugh or any reaction you had.

Tell them that you are waiting for sequel for this fic. That you can’t wait for the next fanart of this pairing. That you love seeing their work.

Thank them for it. I know that you know that they do it as a hobby, but thank them for spending their time anyway.

Reading this makes their day. And they’ll tell you that.

Okay, but what if you didn’t like it?

Then you have to write a comment anyway. Criticism is the most important for artist. Without it they can’t make progress.

Writing critique is harder than writing a positive feedback. You have to be precise here. The most important rule is:

DO NOT WRITE “I DON’T LIKE IT”

like really

if you want to write something like that, then better don’t write anything.

You must add what you didn’t like, why, and how they can change that. Constructive criticism is the only one which matters. Otherwise you’ll make them not want to create anymore.

So how good criticism looks like?

“The colours you used don’t fit together. If you used warmer shade of red it would look better!”

“The main character of the story is too perfect, you should add them some flaws to make them more real. Perhaps something with their looks - too thin mouth or some scar? Their personality is also too mary sue. Try to give them some bad traits, maybe they can be blunt or a bit ignorant and listen to nobody’s advice?”

“The person you drew has anatomically incorrect legs - it looks like they don’t have knees. Try to work on it looking at some photos.”

The problem with criticism is that inexperienced artists often take it too personally, like an attack. Good solution is to tell them something nice.

“The scenere is beautiful, but…”
“I love how you write descriptions, but there’s something you need to work on…”

When you write comments it’s also important NOT TO DEMAND ANOTHER PIECE OF ART/CHAPTER/SEQUEL/WHATEVER

It makes them not wanting to contiune their work. So, yeah, encourage them, but not demand. “Is there any chance you’ll do it?”, “I can’t wait for more!”, “Please, continue this, I really want to know what happens next!”

What else you can do as a recipient?

Reblog. Not only like, but also reblog, so more people can see it. Don’t repost and if you have to ALWAYS GIVE CREDITS. And no, “source: tumblr” is not a credit (I feel like I should do another post about it)

Buy. I know all of us are broke, but many artists are really cheap (and that makes me sad). Just ask them to do something customized for you, like keychains or something like that. And pay them for it. Or just donate.

And remember

EVEN IF YOU DON’T CREATE YOU ARE IMPORTANT IN FANDOM AND IT WOULDN’T BE THERE WITHOUT YOU

YOU ARE IMPORTANT

YOU MATTER

(feel free to add some things that I forgot and tell me all mistakes I made, it’s late and my brain is tired so I could use some wrong words but I tried)

anonymous asked:

I'm having trouble because I have a number of characters that I need to introduce pretty early on and I'm not sure how to do it without just having them all introduce themselves. None of them have ever met or heard of each other before the beginning of the story. Any advice?

Character Introductions

Greetings and salutations! We’re going to talk about character introductions, but before we do, I’m going to link two posts off the top of my head where we’ve discussed this before. Check out these two posts for some additional information if you’d like it. Regardless, I’m going to go in depth here on some great strategies for mass character introductions. 

Penney on Character Introductions

Rebekah on Two Characters Meeting for the First Time

Evaluate the Necessity of Each Introduction

Our anon mentioned that they needed to introduce all these characters pretty early on, but let’s stop and analyze that need for a moment. When you’re trying to decide if a particular event or detail is needed early on in your story, ask yourself the following question:

Do these characters (or facts/details) I’m introducing play a key role in the action of the beginning scenes? 

Make a list of your first few scenes (include brief summaries of the scenes), and look at who the key players are. Imagine you have a character that is being paid to steal something, and they’re in the process of stealing it. The conflict in the first scene is their success/failure to steal said object. The person who hired them to steal it is unimportant in this first scene. Yes, mention that your character was hired by someone to do this, and maybe hint at a general consequence if your character fails (”He’ll kill me if I fail”) but avoid an in depth description of this “boss character” and the nature of their relationship until later. The only thing that matters right now is whether or not your protagonist is able to steal this object.

Regardless of what happens in the first scene, your protagonist will need to return to this boss character and either give them the object they stole or inform them that they failed. This is the point where you start to describe this boss character - what they look like, what their demeanor is like, what they’re willing to do to make their point. It may be the point where you go into the backstory of your protag’s relationship with them, but it may not be needed even now. It may be that this backstory isn’t necessary to know until 2 or 3 scenes later on when we start to wonder why the hell our protagonist is putting up with this boss person’s insane orders and methods. 

The key point when it comes to exposition - make readers wonder about it before you tell them. Giving a reader all the information in the first chapter often results in a reader learning things they don’t even care to know yet.

So the first thing to do before you start introducing all your characters, is to decide which characters are involved in the actual events of the story in these early scenes. It’s likely that some of the characters need only a brief mention at this point (not a full intro), or perhaps even a postponed intro until a chapter or two later. 

In the case of our anon, none of their characters know each other, so it’s necessary here to ask yourself why they all need to meet at this particular point. Can Character A meet B in scene one, and then meet C, D, and E in scene three? 

If you feel like they all have to meet at once, because they’re all part of a group or something, then choose one or two relationships to focus on first. For example, when I start a new job, I take in everyone’s names at once but likely only remember a few, and the few I remember are because I end up talking or working with them 1-on-1 first. So decide if you’re able to generalize some of the introductions early on and focus on one or two character interactions early. It doesn’t mean those generalized intros are insignificant characters - it simply means we’ll get to them later when they become relevant. If this point seems valid to you, definitely read Penney’s post. 

Make Each Intro Significant and Memorable

I make this point in the post of mine I linked, but in this case, there’s a little more to it than what I discussed. When a character is meeting a lot of other characters, each introduction should include more than just “Hi, I’m Rebekah.” A detail should be included that we’ll remember, or something should happen that becomes significant. 

In Big Hero 6, Hiro meets four new characters in one scene (five if you include Callaghan). And each introduction includes not only a name (a nickname actually), but also showcases the area of science they each specialize in, because they’re each fussing with their projects as he moves through the room. Because he’s meeting them while they’re in the middle of work, we also see some characteristics about how they each operate (Wasabi getting upset when his “system” is disrupted by people grabbing his stuff). And rather than one big mass introduction, (”That’s Go-Go over there, and this here is Fred, and oh that guy over there is Wasabi”), Hiro meets each person individually, though still in one scene. These are formal introductions, but they work because they reveal something memorable and significant about each person, and it’s easier to keep track of them.

If this were a novel rather than a movie, this would also be a good place for Hiro to relate specific details about each person to his own life. If one of them reminded him of someone (whether it’s someone he knows, or a cross between two famous characters/celebrities), or if he’s initially intrigued or put-off by the character. For instance, Hiro later has an overflowing wastebasket full of discarded ideas, and this kind of mess might be something a super organized person like Wasabi might be driven insane by. So when they meet, Hiro might think something like, “Wow, if he’s frazzled by this kind of chaos, he better not set foot into my workshop.” I’ve exaggerated a bit, but I want to show an example of your opportunity as a novel writer versus a script writer. Pick on little details and show how the details affect the character that’s meeting them. 

Use Distinguishable Names and Create Associations

If at all possible, choose names for your characters that are easy to keep straight. Try to avoid having too many character names that start with the same letter, or have similar sounds to them. That’s no need to have a Danny D. and Danny C. situation here, or even an Ashley/Amber situation. You have control over your characters’ names, so pick names that are easily distinguished from the other characters’ names. 

Also, with a large cast, let readers form associations with a particular name that they won’t forget: 

  • “Noah was a ‘no-nonsense’ kind of guy.” 
  • “Shelley had a shrill laugh, and she was easily amused (and easily startled) so you heard it quite frequently, even across the room.”
  • “Ricky was the risk taker of the group. Not because he was brave or anything, but because he never thought things through.”

Let’s review:

  • Noah = no nonsense
  • Shelley = shrill
  • Ricky risky

These adjectives serve as subtle mnemonics that help to build associations between names and descriptors, and it’s the type of thing that a reader will remember without realizing that they’re remembering it. 

Mix and Match for Variety in Interactions

Depending on the type of point of view you are using, you may also have the opportunity to create smaller conversations within the larger group. You start the story with Ashley meeting Noah and Shelley, and you take the time to really show enough of who each character is that we’ll remember, and then you jump to a new scene where Danny is meeting Ricky. Once we’ve gotten used to this second group of characters, you bring all five together. Instead of being overwhelmed with all five characters at once, we’re spoon fed a little at a time so it’s less of an overload. 

And this example of 3 characters, then 2 characters isn’t an absolute. You can work with as many characters as you feel you can balance. If you’ve got a cast of, let’s say 12 characters, you might start the scene with a group of 5, and then a group of 3, and then a group of 4. The number of characters you’ll introduce at a time is in proportion to the cast as a whole. A bigger cast might mean bigger groups, or perhaps several smaller groups. This is where you play around with your specific setup to see what works. 

These are just some tips for introducing a large number of characters. Hopefully something in here will help you!

-Rebekah

The Penumbra Musical

I decided that 2Mask2Murderous needs to be made into a stage production. Specifically a musical. This needs to happen. Between Juno’s genre savvy, Peter’s con artistry, and the Kanagawas careers as entertainers, pretty much everybody knows that they’re in a musical.

(Ridiculousness under the cut)

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