the characters are less sure of themselves

A White Actor Grows Some Bollocks - Quill’s Scribbles

You may recall that movie studio Lionsgate got themselves into a bit of hot water last week when they announced the casting of Ed Skrein as Major Ben Daimio in their upcoming Hellboy reboot. The problem was Major Ben Daimio is a Japanese character in the source material, making Hellboy the latest of numerous sci-fi and/or comic book adaptations to whitewash a prominent Asian character. I and many others made our views heard, voicing our strongest and angriest objections to this blatant bit of racist erasure (for whitewashing is objectively racist and totally inexcusable) just as we did with the likes of Doctor Strange, Death Note and Ghost In The Shell. But unlike those projects I just listed, the most extraordinary thing happened. Somebody listened.

Oh not the studio obviously. No, it was Ed Skrein himself. Realising the hornet’s nest he had kicked, Skrein actually announced via his social media accounts that he was dropping out of the role.

This open letter has received a positive response from fans and readers. Hellboy producers Larry Gordon and Lloyd Levin made a joint statement in support saying:

“Ed came to us and felt very strongly about this. We fully support his unselfish decision. It was not our intent to be insensitive to issues of authenticity and ethnicity, and we will look to recast the part with an actor more consistent with the character in the source material.”

Even Hellboy creator Mike Mignola chipped in to offer his praise for Skrein’s decision to step down.

Now it would be easy to take a very cynical approach to all of this. Perhaps claim that Skrein only stepped down because he realised the damage all of this backlash could do to his career, but for once I’m willing to put aside my cynicism. I do actually believe Ed Skrein’s sincerity here. He seems to be genuinely apologetic, initially not realising the implications of what he was doing and now seems determined to make amends.

However I’m not exactly willing to praise him for his decision. At least not to the same extent others are. I can understand why people are praising him so heavily. This is an almost unprecedented move. Having put up with loads of A list white actors giving the weakest and most pathetic excuses to justify their own racist bullshit, the idea of a white actor growing some bollocks and actually stepping down from a whitewashed role purely on moral grounds is a novelty. He quit a tentpole movie purely because it was the right thing to do, and I am grateful for that. But can we try and keep this in perspective? This decision wasn’t courageous or brave. It’s just an actor turning down a role. A role that should never have been offered to him in the first place. While I’m pleased that Ed Skrein did the decent thing in the end, the fact is this entire situation should never have happened in the first place. Asian characters should be played by Asian actors. That should not be a difficult concept for filmmakers to wrap their heads around, and I feel I should point out I still don’t trust Lionsgate in the fucking slightest. Oh they’re going to cast a Japanese actor as Ben Daimio now if they know what’s good for them, but if Ed Skrein didn’t take the moral high ground, they wouldn’t have learnt a damn thing. Let’s not forget the studio’s initial response to the controversy came from this now deleted tweet from Hellboy executive producer Christa Campbell:

We don’t see colours or race. The slogan for closet racists the world over. 

See this is what so many white people in positions of power and authority within the industry need to understand when it comes to POC presentation. Being colourblind sounds good in theory, but in practice it can be very dangerous. When you make an actor’s performance or marketability the only criteria, you end up making stupid mistakes like this. When you racebend a white character, it’s fine. We already have plenty of representation, plus 9 times out of 10 being white isn’t actually integral to the character. For characters of colour on the other hand, you’ve got to take these other factors into consideration. Usually the culture of said character is integral plus it’s important for non white characters to be portrayed on screen not just for equality, but also for variety.

Recently I finally got to watch the Disney movie Moana, and I’m currently slightly obsessed with it. Not just because it’s a fun, smartly written musical with a great female protagonist, lovable characters, funny jokes and a heartwarming message behind it. It’s also because it explores myths and cultures I’ve never got to experience before.

Moana takes a lot of influence and inspiration from Polynesian culture and mythology, most notably adapting the stories of the demigod Maui (played by Dwayne Johnson). I have no idea how accurate this is, but I still loved it because it was something different. After seeing so many fantasy stuff like Lord Of The Rings and Game Of Thrones, which are essentially variations on Norse mythology, as well as the trillions of Christian inspired fantasy stories, Moana feels incredibly fresh and unique. I found all the stuff about Maui and Te Fiti fascinating, and I would love to see more movies exploring these Polynesian myths and legends. There’s such an incredibly rich vein of creativity you could tap into here.

Something else I loved about Moana was they actually cast Polynesian actors as the characters. I’ve already mentioned Dwayne Johnson as Maui. There’s also Jemaine Clement as Tamatoa the crab, Nicole Scherzinger as Moana’s mum, Jango Fett himself Temuera Morrison as Moana’s dad, Rachel House as Moana’s granny, and newcomer Auli’i Cravalho as Moana herself. This is why diversity is so important in films. Not only does it give actors of colour more exposure and allow new talents like Cravalho to emerge and flourish, but it also exposes general movie going audiences to stories and cultures we wouldn’t normally get to see. And that’s why whitewashing is so offensive. It takes job opportunities away from actors of colour and also causes creativity to stagnate. When it’s an Asian character in an Asian inspired story, there’s lots of different directions you can go. When it’s a white character in an Asian inspired story, there’s only one story you can tell. The outsider. The stranger. The foreigner to their ways. That’s not interesting. We’ve seen that done loads of times. Plus if you truly want to immerse the audience in another culture, isn’t it better to have a character that actually represents that culture rather than some white dweeb who knows jackshit about it?

Basically what I’m saying is we need more movies like Moana and less movies like…

No I’m never dropping this. Fuck this movie and all who support it.

So while I’m pleased that Ed Skrein decided to do the right thing in the end, I’m still going to judge this Hellboy reboot with the suspicion and scorn it deserves. Sure they’re probably going to cast a Japanese actor as Ben Daimio, but only because they have to now to save themselves from further embarrassment. It’s not because they want to. If it was someone like Scarlett Johansson or Tilda Swinton, the studio would still be sticking to their guns and trying to justify their racist bullshit. 

I’m glad Skrein managed to fix things and reveal A list white actors like Swinton and Johansson for the selfish, racist, privileged pricks that they are through his own selfless actions, but until the industry properly recognises that whitewashing is NEVER a good idea, nothing has actually changed as far as I’m concerned.

That one quote about the bros post-FFXV

I was content just to roll my eyes every time I saw the out-of-context first part posted here, but it’s getting kind of ridiculous.

You’ve probably all seen this part:

Well, Tabata says they’re alive. And although he said we probably won’t see any future downloadable content that shows what happens to Gladiolus, Prompto, and Ignis after the credits roll, he did assure me that their ending is not going to be happy.

That sounds pretty bad. But what he actually said, as the article clarifies, was:

“Obviously it’s very hard to pinpoint what exactly makes a certain person or character happy,” Tabata said, speaking through a translator. “The fact that they were a party of four and one of the party is no longer there, it’ll probably be hard to say that they’re fully happy. That said, they needed to do what they needed to do, so they had that sense of purpose. And I’m sure they’re very proud of what they’ve achieved and what they’ve overcome.“

So it’s less ‘their lives are tragedies forever’, and more ‘they’re not entirely happy because their bro is dead, but they know they did the right thing and they’re proud of themselves’.

I’d call that a pretty good ending for them, to be honest.

(Article source)

A reminder to my fellow RPers

“Your character is so unoriginal” is nothing to feel insulted by. The real world is littered with unoriginal people who make up our friends and family. Our fiction is made of unoriginal characters we adore. Unoriginal is another word for popular, and one shouldn’t feel pressured into not playing what they like simply because other people do too.

“Your character is such a snowflake” is quite the same. Narrative worlds allow for you to have a space to imagine things that other formats won’t let you. There’s no reason why you shouldn’t have a space in which to explore different ideas. If the lore of the medium doesn’t support it, you can still find a nice niche to play it with those that like your character.

“You only RP with your close friends!” happens to be quite a moot point too. We all have a limited time (some more, and some less of it) and nobody owes anyone time if they’d rather have fun with people who they know are like-minded.

“Your writing is awful!” is another rich example, in a hobby in which I’ve seen practically nobody claiming to be good writers themselves. I’ve certainly never seen any roleplayer speaking of their grade A writing ability; only of their love for playing characters. Many of us don’t even live in English-speaking countries. To expect something that was never promised to you is simply delusional.

I’m sure you can think of many more statements blurted out on a daily basis to judge the RP of others, and most can be summed up to people bashing others based on their own, one-sided expectations. Here’s the thing though: RP is a collaborative effort.

We walk a fine line in our hobby, in which sometimes it seems like we have to surrender to the desires of what other expects a character should be like.

Roleplay is an exercise in imagination. You owe nobody originality. You certainly don’t owe anyone having to conform to what the “norm” is, and your time is certainly not public property. Those who want to RP with you will find you, and those who don’t can go elsewhere. Nobody should be shamed for how they spend their time with a hobby that’s basically playing pretend with other people.

There’s only two rules to RP:

  1. Don’t hurt other people OOCly.
  2. Have fun.

the-beauty-in-death-and-life  asked:

How do you fix a story that is "too sad" ??? Lol I was writing one and lots of people died/excreta, etc. And I got A LOT of frowny faces. I was thinking it might be too sad. I dunno if that's in your department...tips? Anyways thx. 😘

No problem @the-beauty-in-death-and-life! Hope this helps:

TIPS ON HOW TO MAKE YOUR STORY LESS SAD

1. HUMOR

Humor is the first tip on this list because it is the fastest and easiest way to make sure your story isn’t just one big depressfest for all of your readers. It lightens the mood and can reveal a lot about certain characters if they’re cracking a joke in the middle of a crisis.

If humor is written well, it’ll help your story ease up on the sadness pedal.

However, there are some stories or moments in stories where it would be out of place or inappropriate to put humor in, and it’s not like you can have a character making jokes every other line. Therefore, humor is the first tip because it’s the go-to solution, but not always the best solution.

2. LET YOUR CHARACTERS SMILE

Characters don’t have frowns on all the time. If they’re normal people, they probably smile every so often, though these smiles can grow few and far between if the crisis becomes bad enough. 

The word smile in itself is happiness-educing, and many smiles are incredibly contagious.

A character doesn’t have to smile just because a joke was made. Some people smile when recalling a fond memory or seeing other people enjoy themselves, even if they themselves aren’t happy. Perhaps they could smile when listening to a favorite song or being with a beloved pet or family member. There are so many reasons to smile we’d be here for ten years if I listed them all.

If one character starts smiling, odds are the rest of them will follow in suit, especially if times are rough and they’re desperate for some kind of relief from the hardship.

3. LET HAPPY THINGS HAPPEN IN YOUR STORY

Just because you classify your work as “dark” or as a “tragedy”, that doesn’t mean that things just have to be constantly heavy and terrible.

Let happy things happen in your story.

This is probably the most effective way to make your story less sad, because it gives the reader a break from all of the tears and breakdowns and dead people. 

A “happy thing” doesn’t need to be huge like the conflict being resolved or a presumed-dead character coming back to life, it can be small things, too.

Getting ice cream at the ice cream shop, watching late night shows or Netflix by themselves or with their significant others, playing games, browsing the Internet.

All of these things give us happiness. That’s why we do it, after all. Therefore, in times of extreme stress and need for comfort, why WOULDN’T a character want to indulge in the things they love.

Sure, your story could be just a ton of depression heaped into a couple of hundred pages, but these happy moments are spots of light in the dark, and they’ll keep your reader from getting too down in the dumps.

4. KNOW THAT YOUR STORY DOESN’T HAVE TO BE LESS SAD

Some stories are depressing, and that’s A-OK!

Not all stories are required to be sunshine and rainbows!

If you have readers pressuring you to make the story happier, you don’t have to bend to their will: you write for you, and only you!

Unless you marketed your story a different way, you’re completely in the right if you keep your story the way it is: some readers love a good sob story, especially if it’s them who are sobbing.

(I myself love these kinds of stories because it’s a good way to cleanse the tear ducts)

Just know that these tips don’t have to be followed; if you have a sad story, you’re not required to incorporate these things. There is no such thing as too sad when it comes to literature, because literature is a world where you can create whatever you want without having it be real life.


Hope this helped!

This is really complicated to talk around but like…

A really common way of coding someone autistic (without going through the bother of providing any real representation via research and canonical confirmation of neurotype) is by making them “smart but socially awkward”.

You probably know the type. It’s ridiculously common. I’d probably be more hard pressed to name a tv show that doesn’t have it, off the top of my head, than one that does. They’re almost always white, they’re usually men.

Keep reading

anonymous asked:

Honestly, I think the Vegebul ship is one of the best ever made, because their whole relationship is work, they didn't have the hollywood romance of love at first sight, one fight, break up, back together, and happily ever after. No they went through a lot of shit, and still made it out and still love each other. Same with GoChi, they have the sweet highschool sweetheart love and also been through a lot of shit. Two best ships ever made IMO.

I agree!

I love that their relationship wasn’t perfect since day one, and I’m pretty sure they had a bumpy start, but they still remained together and their bond grew stronger through the years, especially as Vegeta’s character progressed and matured into the man he is today. And, of course, Goku and Chichi have also been through a lot themselves.

I think that’s one of the reasons why writing and reading about them is so interesting (although I admit I’ve read way less Gochi than Vegebul), because it wasn’t a classic romance by any means and it’s fascinating to think about how their relationship began and evolved as time went by…

Originally posted by come-backplease

Originally posted by softgine

Hannibal and Will - Italian dialogues

I need your help to understand something.

I’ve been watching movies and tv shows in their original language for a long time now. At first I didn’t understand a single word but I insisted until finally now it’s the only way I can watch something. Because I know actors’ voices, it would be impossible to enjoy things any other way.

BUT.

In some way I got so used to American and British movies and tv shows that I usually understand when there’s a friendly or a formal relationship without paying too much attention.

I explain. In Italian we have a way to address people we don’t know.

We use the “LEI” form. We use it with older people or with people we don’t have familiarity (a boss, a teacher).  It’s like talking to someone using the third pronoun. Instead of “You are” we say “She/He is” to that person. It’s so complicated I really can’t explain. But you know by that what kind of relationship there’s between people.

Last night I saw two minutes of Hannibal in Italian and I was shocked, because Hannibal and Will talk to each other like that.

WHAT?

What I’m asking is… Is that what in English I didn’t understand? I was sure all the characters (more or less) were using the YOU in a non-formal way, did I get that wrong?

I never had the impression that Hannibal talked to Will like he was a patient and Will to Hannibal like he was really his doctor. I always thought they were already talk to each other like friends and that Will was the only one who waited a little longer to use Hannibal’s name.

Please explain that to me. To hear that interpretation in the Italian version is even more painful than the voices themselves. But maybe I got it wrong.

Listen… acting like su is still an amazing and progressive!!! show is unrealistic and lying to yourself. Sure, are they diverse? Yeah! But that’s not enough. Marginalized people need to see themselves on screen, and su does that (kind of. more or less). But they need to see themselves portrayed well. Seeing yourself as the villain or in the wrong is nothing new, the media has been doing that since the beginning of time. Seeing the character you relate to be turned into a joke or just straight up toxic? Not revolutionary. If people only see themselves in a negative light, that’s not a progressive way to run your show.

Take everyones favorite, Pearl. Specifically, Pearl being a lesbian. She’s clearly a lesbian, she’s a main character, this is fantastic, right? No. Nothing good comes out of Pearls sexuality. She was in love with Rose to the point that it’s read as creepy and obsessive. When Rose found someone else, Pearl became a salty, bitter lesbian and in flashbacks (which yes, are biased, as they’re from Greg’s point of view) she’s only there to spite Rose’s love interest and be extremely jealous. She relates everything to Rose. She’s endangered Steven because of her feelings for Rose. She plays a big part in Steven’s self esteem issues because she can’t help but act like he took Rose from her. Her inability to be a good parental figure to Steven is almost if not entirely related to her loving Rose. How can you act like that’s good representation?

And Lapis? Holy shit, new topic. She has PTSD. This is obvious. She’s been reduced to trauma jokes. Only trauma jokes. After Alone At Sea? Psssht, now it’s just the occasional crack about it. She doesn’t openly exhibit any other traits about it! Sure, a lot of survivors make jokes about their trauma as a way to deal with it. I’m guilty of this myself. But that’s all she does. And if maybe she was treated less like a joke, less like a “literal emo child,” I’d like her more.

Oh, and when she does (read: did) exhibit other symptoms of PTSD? She’s shown to be in the wrong for it, or it’s played for laughs, and that’s not okay! Barn Mates? We were expected to see that as “Peridot is a cute awkward bean uwu and Lapis is just being difficult uwuwu”. Getting upset over a pond? Yeah, makes sense if you just spent literal months under the ocean. Having to live with someone who kept you prisoner and doubting that they’ve changed? Yeah, doubt I have to explain that one. I don’t agree with her breaking the tape recorder, but the other actions mentioned are pretty fucking reasonable, if I say so myself.

TL;DR if your “progressive” characters flaws all stem from what makes them so great, it’s not progressive. It’s regressive and awful.

anonymous asked:

Different anon, but I think the reason why some people are so salty (to put it lightly) about the DAMVTF thing is the fact that Dipper will always face some kind of punishment for every mistake or selfish decision he makes, whereas Mabel is (to quote one post) "always absolved of here wrongdoing to the point that it's awkward", which led to more inconsistent character development.

There was……literally an entire episode…requiring Mabel to acknowledge her flaws and realize she’s not as good as she thought she was…..Sure, the unicorn was a sham, but she still went through that process of self-evaluation–and she freaking broke down crying trying to redeem herself.

I honestly feel like ever since Bill highlighted every sacrifice Dipper has made for Mabel, people have been clinging to that as Mabel being infinitely excused from all consequence. But what they seem to forget is in that very same episode, Mabel realized how selfish she’d been and sacrificed something she’d poured her heart and soul into (a puppet show may not seem like much but at the time that production was her world) for her brother’s sake.

I think one of the issues with this entire thing is that yes, Mabel is selfish–that’s one of her defining flaws–but people demonize the “selfish” character trait over nearly every other character’s major flaw.

I’m going to leave Ford out of this because he’s another one disproportionately attacked for his major flaw (usually defined as “arrogance,” which yes, I’ll acknowledge he has!) But honestly…what if Bill had highlighted every time Dipper’s flaw of “obsessiveness” had put someone in danger?

Or every time Stan’s stubbornness and/or dishonesty, no matter how well-intentioned, caused more problems in the long run? (This is less often, I’ll admit, but certainly happened in Scary-oke, Weirdmageddon 3, and even Roadside Attraction to a lesser extent)

The point is, every character in Gravity Falls has flaws, and every character, young and old, is learning.  Many episodes have an instance where each character has had to apologize for their biggest mistakes, even Mabel. 

But on the other hand, character development doesn’t always have to be progressive to be consistent–often times people in the real world pledge to do things or resolve traits about themselves and then don’t. It’s a human action, especially if you’re a kid.  Sure, character development can include eventually overcoming those bad traits, but not always–a person doesn’t have to lose their flaws 100% to be developed!  Instead, character development can also be about gaining dimension, perspective, and depth as the storyline progresses.

Which Mabel has certainly done consistently since Tourist Trapped.

Finally, addressing the issue where Mabel seems to never face any consequences: I’ll admit that in some scenarios (like The Deep End or The Time Traveller’s Pig), Mabel benefits from someone else’s sacrifice without having to sacrifice anything herself.  However, this is not always the case.  People seem to find her avoiding punishment to an awkward extent because they don’t include ill effects that involve Mabel along with other people.

Mabel paid for her ignorance in Tourist Trapped by almost getting kidnapped and crushed by a freaking gnome monster.  She paid for manipulating Stan in Fight Fighters by nearly falling off a water tower to the point where she developed her own fear of heights.  And she definitely paid for the rift issue in DaMVtF (which was??? a freaking accident in the first place???) by witnessing tons of the people she loved getting threatened by Bill and nearly dying at his hand herself.

Just because Dipper, Stan, or someone else was involved in a dangerous situation doesn’t mean Mabel wasn’t affected too.

I usually don’t debate online about this stuff because first, everyone’s entitled to their own opinion, second, no character on this show is free of error (and realistically so), and third, because it is just a show. 

But what does make me sad is people sending me asks like “Mabel doesn’t love Dipper as much as he loves her” or “Mabel’s the most undeveloped character on the show cause she just keeps doing the same selfish things” (which are very similar to asks I’ve actually gotten), because it really seems to diminish the beautiful sibling relationship Alex and all the other writers worked hard to establish on this show.

The twins are both kids, and realistically make mistakes because of this.  Some mistakes have consequences, some do not, which is also realistic.  And it’s okay to be upset about them from a fandom standpoint!  But I personally don’t understand why people are so stuck on hating characters like Mabel when the entire show is about the importance of family, connection, and love.

And it isn’t just Mabel; I’d personally stand for any of the characters on Gravity Falls.  Not because they’re perfect, but because they’re well-written, develop over time, and they’re human.

Making mistakes is part of life.  Of growing up.

I really think that’s a Gravity Falls moral in itself, honestly.

snehathings  asked:

So I read Jon might be playing Dany-I find it horrible if he does such a thing because she has already agreed and second it's not right plus if he plays her n she ends yup dead just like the first time around how horribly would it impact him n and then I also read that if he would marry Sansa it would be for political reasons and it would look even bad if he does that plus they both deserve to marry for love cause Tyrion was good to her n she was ready to do her duty, I know this is no fairytale

Okay, so it seems like there are two parts to this ask. 1. Jon potentially manipulating Dany, and 2. Jon and Sansa potentially getting married. Let’s look at them one at a time.

My response is beneath the cut for both length and potential 7x06 spoilers.

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okenice  asked:

Hey, I was wondering if you have any meta/or have noticed some other parallels eremin has to other significant relationships in the manga? I'm interested in how much Isayama likes his parallels and one person probably cannot catch them all

Heya! I haven’t written up any posts solely focusing on Eremin parallels to other significant relationships, so I guess this will be it.

In addition to comparing Eremin to other relationships, I also want to reference certain characters and their actions as a way to further draw parallels. So characters that aren’t in a relationship with anyone, but have/are implied to have some “special” feelings for others. Realizing the similarities between those characters and either Eren or Armin (in certain contexts) makes for a stronger parallel suggesting romantic feelings.

Alright, long post incoming. Spoilers if you aren’t caught up with the manga

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What Dean Remembers Most

Part two of a four part 12x11 Destiel coda. I posted part one here.

Feel free to go read on ao3.  


As soon as Rowena gave the Celtic equivalent of abracadabra! they were back. Each of the millions of memories like a homing pigeon coming back to nest among his nerve endings. The feeling of them all arriving at once - it wasn’t pleasant.

But it was fleeting, and soon enough, Dean was himself again.

Except himself wasn’t as simple as he once thought. True, even his stubborn ass had changed over time, so there wasn’t some static and fixed character called Dean Winchester that was eternally true. But it was more than that.

The first thing Dean remembers when the spell is reversed is about what really matters. How when each piece of his carefully curated identity had been stripped away, as his sense of duty and decorum were lost, he was still himself.

Things mattered much less than he once thought. Because - sure - he thought there were few beers that went down as easy as El Sol, few bands as great as Zepplin. But when push came to shove, Dean didn’t fear losing those parts.

No, the real horrors of the curse made themselves abundantly clear in that motel bathroom in Arkansas. Where Dean demanded his mind hold onto what mattered most.

Sam, Mary, Cas.

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Just my thoughts...

In my opinion, I feel like Kishi purposely made Gaiden complete and utter crap on purpose. Like he was trying to send the message that this is what happens when you let go of your dreams and aspirations. This is what happens when you allow others to influence you and shape you into something that you’re not for their convenience. Because let’s be real. If The Last never happened, if Sasuke wasn’t forced out of the narrative for The Hyuuga Princess’ sake, things would’ve actually have gotten solved. Why? Because Sasuke and Naruto would be together

I don’t mean that in a romantic sense, though that would be nice, but I mean as in general. They would watch over Konoha together.They would change the system like they intended. That’s what the series was about, right? Because last I checked, it wasn’t about ships or about getting married and having kids. However, because Sasuke was forced out of Naruto’s life, nothing gets fixed. Nothing gets solved. Things don’t change. Naruto becomes Hokage and does what exactly? He was supposed to be the one that would surpass all the other Hokage but I haven’t seen a single thing he did as Hokage that supports that. He becomes one of many. He’s nothing special. He doesn’t change anything. No, instead, he becomes an average Hokage and neglectful father and husband. 

Do people even understand the significance of Naruto and Sasuke working together? Do people even understand the significance of their fight? That was them coming to understand each other. That was them finding balance between them. And that balance was exactly what was supposed to bring about change to the shinobi world. They were meant to stand together. They were meant to lead together as equals

As someone who is studying to become an English major, analyzing plot, dialogue, and narrative has become almost second nature to me. One of the things that we are taught to look out for is unreliable narration. Gaiden is a prime example of that. What I mean by that is that nothing in Gaiden is realistic. Now, I know there are many elements in Naruto that are unrealistic, but in terms of story, Gaiden is 100% forced. It doesn’t fit with the original narrative. It doesn’t serve to add anything to the story. It’s just there.

 In my opinion, there’s no emotional attachment to the characters. Sarada and Boruto’s ‘daddy issues’ mean absolutely nothing to me. An author’s job is to make the readers care about their characters. Kishi did a wonderful job with Sasuke and Naruto in the original series. I literally couldn’t care less about the New Gen. Reading Gaiden, all I could think of was, ‘why should I care about these characters? They have issues with their parents, so what?’ Another thing we look at is the characters themselves. ‘Is it believable that this character would do this? Does it makes sense for this character to think that?’ 

In Naruto and Sasuke’s case, no. As children who grew up as they did, turning out as they did with their ‘families’ makes no sense. If you have a crappy childhood, you’d want to make sure your own children don’t have to go through what you did. Which is why their characterizations in Gaiden make no sense and I don’t believe a single thing about Gaiden. All it is to me is excess waste that could’ve easily been dropped and taken out and it wouldn’t have made a difference to the story. 

When reading something, though I suppose this is just the English major in me talking, you have to ask yourself these questions. What am I reading? What’s the point of this story? What’s the author trying to say? Why should I care about these characters? Why should I care about this story? 

Gaiden, again, in my opinion, completely negates everything that Naruto stood for as a series. The series to me was about growth, about understanding, about change, and most definitely about Naruto and Sasuke. So what happened in the end? What did Naruto spend the entire series chasing after Sasuke for if Sasuke was just going to end up wandering alone again? What was the point of the two of them coming to terms of accepting each other and wanting to work together if they were just going to be separated in the end? The story was never about whether or not Sasuke would get together with Sakura. It was never about wether or not Naruto would get together with Hinata. It was never about any of that at all. It was never a focus in the story. It was never a driving plot point. In fact the ships themselves offered nothing to the story because being together wouldn’t have influenced the narrative in the slightest. 

It was Naruto and Sasuke’s relationship that influenced the story. Whenever Sasuke moved, Naruto moved. Whenever something happened to Sasuke, something happened to Naruto. As Kishi said before, “Naruto and Sasuke progress as a pair. Whenever I think about Naruto, I have to think about Sasuke. They are opposite sides of the spectrum, like yin and yang.” It doesn’t matter whether or not you think of them as romantic or platonic, but don’t negate the fact that the story was always about them. If you only worried about whether or not Naruto and Sasuke would get together with Hinata and Sakura, respectively, then I guess it’s obvious where your priorities lie. People who think that NH/SS were the driving force of the series obviously missed the entire point of Naruto

It was never about romance. It was never about Naruto and Sasuke getting together with their number 1 fangirls. 

Naruto holds a special place in my heart because to me the series taught me the importance of bonds. It taught me the importance of understanding other people’s feelings. It taught me that while the world is full of evil and hate, if you find something real, if you fight that little spec of light, the darkness doesn’t seem so bad. Naruto and Sasuke taught me what it meant to love someone and to love someone selflessly and unconditionally. 

This series changed my life. Yeah, it sucks. It has its faults but the message that Kishi wanted to send, the bonds that formed in the story were the most beautiful that I have ever seen in Shounen manga/anime. And that’s why reading Gaiden and watching The Last broke my heart. It took everything that the series was to me and destroyed it for the sake of underdeveloped ships. 

So tell me then, what did the series mean to you? 

My Jihope theory Pt. 1

I made this into two posts so it’s a bit easier to follow along. 

Honestly, I am not good at writing in general, especially theories, so this will be the first and last theory I ever write because it’s ridiculous. I am sure this won’t be true and I don’t want it to be true but even if it’s pretty crazy I tried to make some connections.

I also want to state that I don’t hate any of the characters in this story/theory. I thought a lot if I should publish this because like I said it’s ridiculous and also very sad. 

The reason I’m writing this is just to get an understanding of why Jihope are together while the rest of the members are by themselves. The truth is probably less simple and less angsty than this. 

To start, I think that they are adding dates to the clips for a reason. I have a feeling, although I may be wrong but I have the feeling it isn’t a linear story or that it isn’t necessarily after the HYYH era. I feel it can be before, like a backstory, in between the mvs, or after.

In this case, I feel it’s before the the HYYH era or at least before INU.

First of all, their hair color is very similar to the hair color they had in the INU mv and prologue.  

In INU both Jimin and Hobi seem to be dealing with suicidal thoughts. Jimin seems to be trying to drown and Hobi is overdosing himself. I will come back to this soon.

So here’s the actual plot, the part that made me nervous to write: You can interpret Jihope’s relationship however you want to but to me they seem very close, whether they’re childhood friends, foster/adoptive brothers, or something else. They seem very fond of each other and are always together throughout the HYYH era and even in the highlight reel. Because the lack of information, it’s not clear the exact relationship between them and the girl and when it is they met her but she from the clips she seems more interactive with Hoseok. Jimin seems to have a crush on her, but that isn’t 100% clear either. Regardless, you can tell that she is important to both of them and that she cares about them. I’d like to think that regardless of their personal feelings, they’re the happiest when they’re all together.

Here comes the heartbreaking part for me.. The girl in the highlight reel dies. I don’t have conclusive evidence of this and I was so hesitant to write this because I didn’t want people to hate me for writing this but I made some connections that may seem very ridiculous but bare with me.

In the Run mv, you see both Hobi and Jimin in the hospital. I don’t know if they’re in a psychiatric hospital or a regular one but based on their short films for Wings, I think they’re in a psychiatric hospital. I think they’ve both had a lot of trauma with her death and Hobi’s also dealing with his mother’s abandonment and even though they’re dealing with all of this, there’s some consolation that they have each other. In the end I think their storyline in HYYH is about them two and their friendship/bond. 

Here you see Hobi happy to wake up and see Jimin. 

However, in the Wings short films you see Jimin and Hoseok aren’t together anymore. Jimin is seen with an empty bed by his side but the other person who we assume is Hoseok isn’t there anymore. 

Hoseok, however, is in a cell. He is by himself. It might be because Hoseok needs more strict supervision. Jimin may be traumatized by the girl’s death but Hoseok can be suffering from her death and his mother’s abandonment, so his symptoms may be worse. 

anonymous asked:

Companio,s react to someone saying something sexist to Sole! Example: you can't lift that sledgehammer you're a girl and girls are weak OR You're a guy, guys aren't supposed to know how to sow/knit that's a girls thing

Given the harsh nature of the Commonwealth, gender roles and expectations are a little different from Pre-War attitudes. As long as you’ve got a big enough gun and the mind to defend your beliefs, your life is your business. No one gets any say in the clothes you wear or the people you spend your life with. But in every society there’s always a few assholes waiting to ruin someone’s day. Sole receives some ignorant insults from a few such people, and it’s up to the companions to stick up for their partner.


Cait: She’d be over there in half a second, fists curled into their collar as she wrenches them off their feet and stares them dead in the eye. Cait been through some goddamn shit, and ain’t nobody about to tell her or Sole how people are supposed to live their lives. Depending on how much of an asshole the person is, she might start a brawl right then and there, because Cait doesn’t put up with bullshit.

Codsworth: If they were still in the Old World, Codsworth might agree. He’s an old-fashioned bot, what can he say? He liked it when everyone had a place, when they knew what they were supposed to do. But now, even he admits that things have changed, and everybody ought to know how to defend themselves and stitch up some clothes. He’ll scoff, and give the person a few cutting remarks, but he’s too polite to really start a fight about it.

Curie: Her first reaction is the scientific one. “Oh! Well, but actually, you see, though there are some innate biological differences that separate the sexes, by and large there’s enough genetic variation that with enough effort, either gender could… Where are you going?” She’s confused when the jerk rolls their eyes and wanders off, grumbling under their breath. It’s only later that the intended cruelty of their words occurs to her.

Danse: Danse, being a soldier, knows perfectly well that women can hold their own in a fight to the equal of any man. He also admits, reluctantly, that men can be just as proficient in… child-rearing, or other civilian female activities. So he tells the person as much. “I find, that in battle, the gender of your companions matter less than the quality of their character. And I advise you to hold your tongue in future, civilian, or you might see the consequences.”

Deacon: As someone who likes to wear dresses and make-up from time to time, he’s well aware of the assholes who like insult people. He also knows that it’s his gun-given right to wear what he wants. Deacon prefers to avoid confrontation, so he’ll endure the insults, sure. But afterwards? When the person goes home? They may or may not find themselves being assaulted by a gang of angry wastelanders. All because one bald guy spread a few rumors.

Dogmeat: He’s not too picky on who his owner is, and he doesn’t know any better about their habits. Whatever Sole wants to do is great, because Sole is great, and he loves Sole. Sole is the best. Sole gives him pets and bits of brahmin meats. So this asshole comes up and starts talking shit? They better be careful, or they’re gonna find themselves missing a chunk of their leg or arm.

Hancock: Oh, hell, no. Nobody talks to Sole like that. Nobody talks to him like that, either. Hancock’s a firm believer in people being able to do whatever the fuck they want, so long as it doesn’t fuck with anybody else. So he pulls out his favorite shanking knife and gives the asshole a big ol’ toothy grin, just to give them the chance to run. Whether he follows or not depends on how much of a jerk the person was, but he’ll still give ‘em a good scare.

Nick Valentine: Now, Nick might have a lot of nostalgia for the past, looking back fondly on curvy dames in tight red dresses and stoic police detectives in battered trench coats. But nobody’s got any right pushing their nose in everyone else’s business. So he lights his cigarette and gives the person his best golden-eyed glare. “Why don’t you go take your dogma elsewhere, pal? Because we sure don’t want to hear it.”

MacCready: He’s a bit of a straight-laced guy, himself. He likes cold drinks, pretty girls, a clean gun… But even he knows everybody’s got a right to their own thing. “Right back at you, asshole. Don’t you have better things to do than be talking crap to people? Maybe a job, or something?” He gives them a glare, standing just behind Sole with fingers twitching for his rifle. If Sole asked him to give this person an extra hole in their head, he wouldn’t mind.

Piper: Word of advice: never make the hot-headed journalist feel like she’s being oppressed. In an instant she’s up in the person’s face, dark eyes all alight with anger as she waves her hands at them. “What did you just say to them? What did you say? Because what you just implied, buddy, you’ll have to take up with me. Oh, oh, oh, I should write an article on you! Tell the world about everything wrong with beliefs like yours. In fact…” And so on.

Preston: His eyes harden, jaw tightens. He doesn’t like anybody talking to Sole like that. He knows very well that anybody can do anything they put their minds to. But he doesn’t want to just start a fight, either. He’ll move to stand in front of Sole, and put his hands up, and try to calm the person down. “Hey, we’re all friends here. No need to judge anyone’s choices. We’re all just trying to get by, do the best we can.”

Strong: For the record, Super Mutants do not have genders. Whether you’re male, female, old, young, whenever you’re infected with the FEV virus, you turn into a mutant. And he doesn’t register gender much in humans, either. They’re all just different degrees of ugly. But he’s more than happy to beat the snot out of anybody who looks at Sole funny.

X6-88: Why should he care what this person thinks? He knows what he’s capable of. He knows what Sole’s capable of. Wasteland prejudices don’t matter to him. He doesn’t care about genders or traditions or anything else. He is assigned to Sole, and he will protect them. Unless this person begins causing problems, he will continue to ignore them. They are beneath his notice. If they become a threat, however…

wyliedeservesbetter  asked:

Hi! i'm writing a story with an autistic character and i was wondering - how can i (an allistic person) portray an autistic character in a way that isn't insensitive and degrading? how can i avoid being offensive?

Heres a few things i can think of off the top of my head (sorry this took so long)

  • try not to make the character read like the textbook version of the autism diagnosis.  no single person is going to have every autistic trait or present them in the same way.  for example, some autistics are not good at identifying sarcasm, while some are great at it (some might be good at identifying it but not good at being sarcastic themselves or vice versa).  I tend to be less facially expressive (apparently its harder to tell if im happy/angry/sad/etc. from my face) but my other friend is really hyper expressive.
  • this may sound obvious but be sure that the character has motivations, goals, and personal values that drive them to do what they do, just like any other character (sadly a lot of media does not do this).  the character should have their own agency and should not exist solely to teach other characters a moral lesson (ive seen a lot of things that include an autistic character just so the main guy learns about humility or kindness or whatever.  they can definitely help the mc develop as a person, but that should not be their sole purpose, and the autistic character should develop as a person as well)
  •  most autistic people have special interests (topics that theyre really “obsessed” with). One of the more stereotypical ones is trains (which has been done to hell and back) but they can be anything from a super obscure play from the 1800′s to something like makeup or fashion.  Keep in mind that the character’s special interest should not be the only thing they talk and care about.
  • they should have the same depth of feeling as all the non-autistic characters.  the only difference is that they will likely have difficulty expressing them or express them in different ways.  They will have difficulty with “normal” social interaction (what to say does not come naturally to them, many have trouble intuitively discerning subtler facial expressions, they might have difficulty with when it is their turn to speak in some situations, etc) but that does not mean that they do not want to connect with people and it definitely does not mean that they do not care about them.
  • please dont treat the character like some mysterious creature or a problem to be solved.  Its completely okay if some of the characters misunderstand them or think of them as “weird”, but that should not be the only perception of them.  The perceptions should change from person to person and should also change as a character gets to know them.
  • also please dont do a thing where “the character gets less autistic when they get friends or a significant other” (i trust that since youre asking about how to write one correctly that this isnt your intention but im gonna list it anyway)
  • be cautious if you end up going the “really good at math/living calculator” route with the character (make sure its not like an op superpower, they should have other talents/traits as well).  although it can be done well, it is very overdone in media.
  • the character should probably have some kind(s) of sensory difference.  For example, being oversensitive to sound or light (some people with high sensitivities in those areas carry earplugs or sunglasses to use when they need them, which are often situations that others find tolerable, like walking around a supermarket or other bright crowded places).  They might not like to be touched unless they are the one that initiates it.  They might have strong preferences for specific clothing styles or fabrics (like I cant wear like 93% of the clothes in most stores because the fit feels awful to me or the fabric that everyone else thinks is soft feels super scratchy).  Some people are very picky eaters (which can be from the texture of the food or the taste).  People can also be undersinsitive in any of these (can withstand super loud noises, underreactive to smells, may not notice cuts or bruises because they are undersensitive to pain, etc). The same person will likely have a mix of different sensory issues that range in “severity” (may have super sensitive hearing, slightly sensitive touch, but react normally to light and taste.  everyone is different).  
  • Said sensory differences will complicate some of the character’s experiences, but their actions because of it should not be seen as irrational or pathologized.  A lot of things make it seem as if the character is overreacting or pitching a fit about a minor issue (like the lights being too bright when no one else cares), when in actuality everyone else would be acting in a similar manner if they had the same sensitivities.  Try to make it understood that the character is not “trying to be difficult” or “just acting weird”
  • Basically just make the autistic character’s inner experiences known as much as possible.    

Thanks for asking! I hope this was at least somewhat helpful (id recommend talking to some more people to get a wider range of advice also) and that your writing goes well!

(feel free to ask again if you wanna know something more specific)  

Camp NaNo Prep #1: STATION WRITING for the Plantser in All of Us

I see you there, pantsers and plantsers (and planners pretending they aren’t plantsers at heart come on now). You get going, you get lost in the world you are creating, and the next thing you know you are 20k in and the story has suddenly jumped genre, motivations have changed, and one of your side characters is now the main character and just- WHY.

What happened? Where did you go wrong? HOW DO YOU SALVAGE THIS? 

Originally posted by ofallingstar

Do you power through and hope it works out? I’m looking at you, pantsers.

Do you abandon the project, give up hope and start fresh? Planners, don’t even tell me for one second you haven’t scrapped multiple manuscripts because of this

Or do you sit back, reflect, and do a little flexible planning and shifting before continuing down this trail? Helloooo plansters, you may be on to something after all!

Well, I may have a solution for you– if you are an in process reworker like I am! I have been in all of these places and performed all of these writing faux pas, and through this, I have found a system that works for me. It allows me to fly through my writing like my pantser brain wants to, gives me structure that the planner in my heart craves, and offers the flexibility to switch between both of them and be the planster I really am.

✎ STATION WRITING

So, what is station writing, exactly, and how does it work?

I made it up. That’s what it is. It probably already exists under some other name, but I haven’t seen it so here we go!

It’s a set of intermediate targets, like a relay race. You get so far and then you pass the baton to the other part of your writing persona and offer it a chance to have a say. Once it has worked out any kinks, you continue on like a frenzy toward the ultimate goal all parts of you have decided is the correct one. And the lovely thing about it is that you can have as much or as little structure as you want!

Keep reading

squirrelsan replied to your post “Oh my God, shut the fuck up, seriously. Stop treating Dean like he’s…”

Or you know the rest of normal folks recognize that BOTH of them are human. I just think that Sam’s just a terrible brother and a terrible partner and behaves like an emotionally abusive a hole. And it be great if he ya know, stopped doing that.

Keep reading

anonymous asked:

So, with Yoriko being arrested and Takeomi was dragged into this, do you think Saiko will take action and if she did, will Urie help her?

Hello! And honestly… right now, I don’t have any good idea. :/

I think Takeomi is a “good” character and he will be angry at the CCG for this joke (because it’s one, if Yoriko ever knew about Touka and shut up about it it was 4 years ago) and unfortunately I think this plan is as much Mutsuki’s as it is Furuta’s, which complicates everything.

As for the other Qs, I wonder about how ready they are to do anything about Mutsuki to be honest…

About Saiko, we always get less focus on her, so I can’t say for sure and since she saved Urie in the last arc, she might want and be able to help save Mutsuki but… Mutsuki is isolating themselves more and more from the rest of the Qs, so I’m not sure Saiko will be convinced to take action unless Mutsuki reaches the lowest of the low (which might be if Kaneki and/or Touka surrender for Yoriko’s sake, which would be a bad idea by the way). 

The issue right now is that confronting Mutsuki’s methods is confronting Furuta’s (and thus the CCG’s) and it could be dangerous, unless there is a strong backup ready to intervene, which is not the case yet in my opinion. We do have investigators that are distrusting of Furuta (Urie, Juuzou, Kuramoto) but they weren’t ready to leave Furuta and the CCG last time we saw them. 

As for Urie… well, we probably had at least a few weeks between ch126 and ch129 but…

Either confronting Mutsuki in ch126 shook him and motivated him to think of a plan to stop them before it’s too late or, insecure in his feelings as he probably was after learning about Mutsuki’s crush on Haise, he could be like Saiko, not sure yet of what to do and how to approach all of Mutsuki’s issues so, in other words, doing nothing. :/

I’d love to get hints that Urie and/or Saiko are more active than passive when it comes to Mutsuki right now, because it would be about damn time, but without seeing neither of them in this chapter, I really don’t have any idea as to if they intend on doing something soon or if they’re as surprised as Takeomi.

Sorry that I can’t help so much Anon… If I have more ideas, I’ll rewrite a post or if I see better ideas from other fans I’ll reblog them!

In the meantime, please have a nice weekend!


Hello Anon! And you’re right, Takeomi never was shown to be that pissed before, not even when he was strangling Ganbo back during the auction raid arc. :/ I’m really pissed myself since Mutsuki laughed at his reaction…

but Mutsuki has been isolating themselves for a while now anyway, so to think that they wouldn’t care about hurting Takeomi’s feelings doesn’t surprise me. They cut short with Saiko and they don’t come home anymore…

And they yelled at Urie and told them about their crush on Sasaki, probably so that Urie would leave them alone…

…which means that now Mutsuki only has contacts with Aura (who isn’t the most sane person to be around), the Oggai (same) and Furuta who’s literally using their “love” for Haise for his own game.

It’s like @harostar explained here, Mutsuki is one of the Clowns’ interesting toys, except that they’re currently mostly used by Furuta, which is why they were asked to become the Oggai’s mentor in the first place and also why this little scheme with “Kou”/Hajime is probably as much their plan than it is Furuta’s. 

Honestly, I’m not sure, but I think ultimately Mutsuki is clinging onto Haise because they had a very happy time being a part of the Qs, back when Shirazu wasn’t dead yet, when Torso hadn’t broken them more than they used to be and when Kaneki was still around as Haise, so they want to go back to this happy time (through bringing Haise back), because it’s the only feeling of happiness that Mutsuki can remember.

However you’re right, clinging onto their love for Haise is what the Clowns and mainly Furuta are playing on, so it is indeed ironic that Mutsuki is currently destroying every positive relationship that they had so far when they are in big need of help (a help I am rather sure that Kaneki can’t bring them). 

It’s the whole point, they’re already paying for all the crazy things that they did (though again, the blame initially lies with their family), but for now I’m still thinking that Urie and Saiko will be able to do something where no one else can (the question is just ‘when’): it fits with Saiko not wanting anyone else to die and Urie wanting a family of his own (since I think he still has a crush on Mutsuki). 

It’s ironic and sad Anon, unfortunately… :/

Thanks for passing by and sharing your thoughts. :) Have a nice weekend!

anonymous asked:

do you have any writing tips? for someone who dares to post but doesn't have a lot of feedback? it's a bit demotivating :( I am asking you because your writing is amazing!

thank you nonny! I’m touched you like my work :) I’m going to split this reply into three parts: 1) fandom feedback, 2) writing growth, and 3) writing tips. maybe this is more than you wanted but it’s how I roll. under the cut because words, words, words!

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