the dialogue is quite suggestive no

OTP Dialogue Prompt
  • Person A: *leans over, suggestive tone* Hi *eyebrow waggle*
  • Person B: Uh… hi…? *leans away*
  • Person A: Come here often, handsome?
  • Person B: *searches for getaway* Uh…
  • Person C: Guys, we all know you are dating, quit it
  • A & B in sync: We aren't dating
  • Person C: *doubtful look*
  • A & B: Are you dense?
  • Person B: As if they'd ever ask me out for real!
  • Person A: *dumbstruck* Actually… I would…
RPG Maker Fever Undead and Deranged

Warning:This article may contain spoilers and the content inappropriate for children…or may not contain.But get the children away from the screen just in case.

Good morning! Or is it already evening? Meh, as if it matters…cellar, where I’m chained and writing my articles  is pitch-dark 24 hours per day. So, today we’ll learn how to make friends, control the undead and have a happy dream ( with some experimental drugs involved).Now then, shall we get started?

1. 1bitHeart

Alright, here goes our first title, made by the author of Alice Mare and LiEat series. 1bitHeart is an adventure game, where your goal is to make as many friends as possible . Game plays similar to Ace Attorney series, but with some QTE-scenes, while setting and atmosphere is kinda similar to TWEWY.You can make 49 friends in total, all of them have unique appearance and personality. Plot of the game is pretty good, dialogues are well-written and sometimes hilarious. Besides, every dialogue has it’s own mood supported by stylish well-chosen music track and quality voice acting. Additionaly I want to praise 1bitHeart’s presentation, since  both artwork and sprites are extremely beautiful .

2. The Boogie Man

And here comes the Boogeyman, the Boogeyman comes for me. Here comes the Boogyeman, he’s gonna take me in my sleep…Nah, actually not. Here comes the latest installement in our favourite  the Strange Men Series. This time with the fully voiced in-game cutscenes (and skippable as bonus). The Boogie Man stays true to series and plays like classical horror-adventure with action cut-ins. At some point of the game you can even play as our old friends -David and Sophie, but new protagonist Keith is quite notable too (he’s my personal fav to be honest).Overall the game makes very good impression, the story is interesting and dialogues are bright and entertaining (with many references to previous games).

3.  END ROLL

I’m not the sensitive type, but  even I was kinda hesitant to play this game at first, since it has waaay too many suggestive content, supported by quite a lot of graphic violence.But after beating it I can state that this game is totally drugtastic. END ROLL plays like quality role-playing game and somewhat reminds the wild mix of the Gray Garden and Re:Kinder, but with better story-writing and gameplay I believe. Game has plenty of  unique dungeons (all of them has some plot-related meaning behind it) as well as tons of optional content, which along with well-designed and interesting characters make END ROLL very enjoyable.

4. Guuzen ~ Ningyou no ito

What? Don’t tell me you’ve never heard about the rite named “doll’s prayer” .You’ll forget all of your worries and  path to the Heaven will open before you. But the place, our heroines’ve found themselves in, can be hardly called Heaven. I wasn’t expecting much from this game, but it turned to be quality horror with beautiful character designs, memorable soundtrack, logical puzzles and surprisingly mature story. The game reminds us that we’re often starting to value something only when it’s already lost.Sadly, right now  Ningyou no ito is only available in chinese, japanese and russian.

5. Liar Jeannie in Crucifix Kingdom

Yet another full-fledged role-playing game has made it to my list.And kinda tough, I must say. Imagine what if Dark Souls was the turn-based RPG with cute nun as protagonist and you’ll get Liar Jeannie… more or less.Unlike many RPGs, this one doesn’t  have any levels, and your stats and basic skills fully depend on your current equipment (by the way, every item in this game can be equipped). A special mention is deserved for game’s bosses - there’s a few main bosses and a lot of optional ones -all of them have their own battle tactics and require some thinking before acting ( especially Pleiades Knights-you want to defeat them, trust me).Also, if things during the fight will become real ugly, you can always summon expendable monsters as your allies (or living shields,heh).

6. At the Tale End

Here we have a game, which looks like a regular fantasy-adventure, but only at first. Plot includes our standard party of heroes (fighter,mage,priest and thief), cursed princess and battle with the local dark lord.But each of these elements plays very different from your typical fantasy stories.At the Tale’s End is definetely a unique experience, a role-playing game in it’s original meaning, without countless random battles, but with a certain weight of responsibility for your actions within a narrative.Also this game has detailed and interesting world as well as quality animated cut-scenes.

7. Pocket Mirror

A long-awaited Pocket Mirror has been finally released this year. And I’m amazed with  enormous amount of work made by the  team of developers.When it comes to game’s graphic, Pocket Mirror is stunning. Beautiful artwork and memorable soundtrack help to create this mysterious, unique atmosphere of dark fairy tale. And with that Pocket Mirror has some gameplay issues. You see, while some puzzles are interesting, most of them is quite uninspiring, some of the locations are pitch-dark and hard to navigate.And with that plot of the game is quite complicated,but doesn’t make much sense,if you don’t pay close attention to numerous in-game notes and letters.This game is definetely not bad,but still leaves some feeling of unpolishness.

8. The Maid of Fairewell Heights

Despite the fact that story of the Maid takes place at the haunted apartment complex, this game has no horror elements. Maid feels more like comedy anime straight from ‘90s. Gameplay (along with main character’s outfits) varies depending on the room your’re currently exploring. Starting with regular cleaning you can end up playing detective or running the shop. Game has bright illustrations, good humour and overall is pretty good.

9. Libretta

I’m sure everyone knows that beside translating games vgperson also makes their own, and Libretta is one of them..This game  definetely gives an interesting experience. While playing similar to Ib, Libretta has it’s own unique atmosphere and somewhat complicated plot, where everyone can find something for themselves (or so I think). Libretta has memorable soundtrack and interesting puzzles, requiring some thinking from the player Also playing shirigories between chapters is kinda fun.

10. Imaginary Friends

Imaginary Friends is a classical rpg-horror-game with quality visuals, well-thought puzzles and some minor chasing scenes. While story lacks originality, it’s still interesting to follow, since charactrers are nice and game has several endings. Game is about 3 hours long and leaves mostly positive impression. So, if you like old-school rpg-horrors-be my guest.

11. Red Trees

While having some minor horror elements, Red Trees stays warm and relaxing adventure game with humorous and ironic view on horror genre and quite unexpected ending in a way. Graphic style of the game and whole atmosphere of a local town is somewhat reminiscent of Mother series.Gameplay is quite simple and consist from few “find-and-bring-to-the- right-person” puzzles, which can be easily solved in 30 minutes or so.

12. The Stairway

Like Red Trees this game is also recommended for players, who’ve already tired from jumpscares, explinct content and overthinking bizarre puzzles. This game has simple yet nice story, unique visuals and some easy logical puzzles.So, if you want to neatly spend 30-40 minutes of your time, try and climb The Stairway to see what’s awiting you at the very end.

13. Friendship

The most fitting description for Friendship would be “horror for the beginners”, since it can surprise or startle you only if you haven’t played any other rpg-horrors before. In fact Friendship doesn’t stand out much compared with better quality school horrors ( like Misao or Amayado Bus Stop ).But it doesn’t mean that the game is bad-Friendship is a good way to spend 30 minutes seeing how strong attachment to a friend can turn simple game into yandere-horror.  

14. By Ourselves

 And here comes our closing title about two former classmates, who’ve found themeselves trapped in the room. Game is only 10 minutes long and basically is one big locked door puzzle. You find the first hint and then successively exploring the room for the way out. Game has two endings determined by how much attention you’re paying to your comrade in distress.

An Analysis on the Sexualities of Tweek and Craig

Quick Introduction

Spoiler: This analysis reaches the conclusion that both of these characters are gay. But not just that they’re gay. That homosexuality is “the point”. If I were to start this analysis by saying their sexualities don’t actually matter in the grand scheme of things, I’d be a liar (based on my observations made in this analysis). And I’m not just talking about their homosexuality mattering in terms of representation. Their homosexuality matters in terms of mattering to South Park. Don’t get what I mean? That’s what this analysis is for and that point will be made especially clear in the last section.

Before I can get to that big chunk of meta, I will also be going over the character sheets.

First of all. I will NOT touch anything pre-Tweek x Craig. This is why I dislike my old analysis, it draws too many points from old episodes. To try and make a statement about modern canon using old information is to assume there is intended continuity that goes years back. And in this case, it also assumes Matt and Trey seriously thought about the sexualities of these two minor characters before Tweek x Craig. And being honest, I don’t think Matt and Trey thought about Tweek and Craig much in general before TxC. Craig didn’t have his modern characterization fully established until “Pandemic” (he was mostly just a rival to the main four before then) and Tweek just straight up stopped existing for years.

I also won’t go into Tweek x Craig because I think plenty of people have hit upon that episode already (including myself in my old analysis on Tweek). If you want to see the points I made on Tweek from that episode, here you go . 


  Them as Superheros and the Character Sheets

On to the character sheets! These (obviously) aren’t all of them, but they are the only ones relevant to this analysis. 

It’s obvious these sheets aren’t completely accurate. The only straight Cartman is and will ever be is a straight up liar. But I don’t think that makes ALL of these sheets inaccurate. Making a superhero persona =/= always making a character completely distinct from who you actually are (though you COULD do that). Think of an actual superhero with a secret identity. When we talk about something like Batman and Bruce Wayne, are we talking about two distinct characters or are they ultimately the same character leading a double life? Easy. The latter. So it’s fair to say some of the kids treated their superhero personas that way. But how do you determine how the kids went about their superhero identities?

Let’s look at Kyle. He went all out with making his character and at one point, even directly says he dropped some of his personal information in favor of making his superhero more believable as an alien. 

That makes the rest of his character sheet questionable as to whether or not the information applies to KYLE, not Human Kite. Maybe he came up with an asexual gender-neutral alien race? Or maybe Kyle really IS asexual? It’s hard to say. The point is that this character sheet is for sure not completely accurate to who Kyle actually is. He treats Human Kite as someone distinct from himself as an actual person. Because of that, the things on his character sheet should be taken with a grain of salt.   

Now let’s look at Tweek and Craig. These two, unlike the others, tie in their superhero personas to who they actually are. How can I say that for sure? Because they literally put their actual names into the names of their superhero personas.

Because they keep their real names in their superhero names, that’s a pretty big indication these superhero personas aren’t meant to be completely distinct from them as people. And there’s nothing from the superhero histories they came up with or in the game dialogue to suggest they’re meant to be distinct. They’re just Tweek and Craig, now with super powers. 

Though of course, those sheets and this explanation of them aren’t quite solid enough proof to end this analysis at that. But I do think the argument is solid enough to not toss the character sheets aside as completely invalid. They make excellent tools for comparing what’s claimed on the sheets and what the characters show in behavior. 

But I’m not done here with their superhero personas. This IS an analysis on the sexualities of Craig and Tweek so it would be criminal not to bring this up. Wonder Tweek most likely based his costume and powers more on Wiccan than any other superhero, despite naming himself after Wonder Woman. Here is a fantastic post on that 

Why does that matter here? Because Tweek skipped over modelling his costume and abilities after the big name superheroes and wanted to be more like Wiccan, an explicitly gay superhero who isn’t well known. Kids often admire and make role models out of characters they can see a part of themselves in. Tweek found this powerful superhero character that shared something big in common with him, so he wanted to use Wiccan as a model for his own superhero persona. Like how many little girls like dressing up like Wonder Woman. Which, to me, is very adorable and heartwarming. 


The Subject of their Sexualities within the Series

On to the last point. The idea of them liking strictly boys is something the series likes to come back to. Even if they’re things meant to make you laugh more than anything. Whether it’s Craig bringing the subject up for no apparent reason and bluntly saying “I’m gay” in his monotone voice, or Tweek not bucking out extra cash to impress a flirty waitress who wears her shorts extra tight and short and then at another point proclaiming his love for “sausage” - the writers bring you back to the idea that “Yes, they’re GAY”. This type of content wouldn’t be thrown in if they intended for you to think otherwise. 

And I’m not just talking about bringing the fandom (who are watching this stuff more closely) back to the idea of them being gay, I’m talking about the average viewer. I’ve seen quite a few playthroughs where seemingly more casual fans laugh at how awkwardly Craig brings the subject up and how straight forward he is. Or ignore the notes the Raisins Girls have on Dog Poo and Butters, but then chuckle once they see Tweek’s. These scenes serve to remind the audience as a whole that these characters are gay (using humorous methods to do so - this is a comedy after all).

I’m pretty sure everyone has noticed how much the others characters love to point out that Tweek and Craig are gay at any chance they get. They’re constantly referred to as “gay” or “homosexual”. It’s constantly thrown in at complete random, with even the news anchor from “Put it Down” calling Tweek a “young homosexual boy”. Almost seems like they’re trying to rub these two characters being gay into our faces doesn’t it? 

Because that’s EXACTLY what they’re doing. And here’s where the meta comes in. When those other characters remind you that Tweek and Craig are gay, that’s SOUTH PARK reminding you that they’re gay. 

Looking back at the Tweek x Craig commentary reveals these reminders are intentionally brought up a lot and serve to work as parodies. Here’s a quote from the commentary: “It’s basically kind of the show saying look how cool and up to date we are! We now have a gay couple on it and it shows how proud shows can be of themselves for having gay couples.” Link to the commentary  

Matt and Trey describe the excitement of the townspeople as being a metaphor for the show itself being excited and proud to have gay characters. The moments after TxC meant to remind you that these two are gay are a continuation of the show proudly showing off its gay characters and the fact that they’re gay. 

Like I said earlier. The show strongly wants you to know that they’re gay. And at the rate they’re going, an analysis like this one will eventually be completely unnecessary in telling you that Tweek and Craig are gay. Because that’s something that’s only going to grow increasingly more blatant as the show goes on. 

In conclusion, both of these characters are super gay and that super gayness is super important to their now more prominent roles in South Park.

Writing Tips #6: Punctuating Dialogue (Advanced Skills)

Hello, everyone, and welcome back to another installment of Writing Tips. Today, we’ll be discussing advanced dialogue punctuation (for more basic skills, please refer to episode 5). Let’s get started.

1. Combining narrative beats with dialogue tags. In the previous post, we discussed how to properly punctuate dialogue tags (he said, she said, they asked, etc.) and narrative beats (body language, non-vocal responses, etc.) Of course, there are times when you want to use both techniques at once. In this case, you want to punctuate the dialogue like so:

g.) “I can’t believe you did that,” she whispered, staring at him in horror.

h.) He turned to her and said, “We’re going to need more explosives.”

i.) “Well,” she said, eyeing him appreciatively, “that went better than I expected.”

Each of the above examples handles this technique in a slightly different way, but you’ll notice that the punctuation is consistent with that of dialogue tags, rather than narrative beats. In this structure, it can be helpful to think of the dialogue tag acts as the main course, while the narrative beat is more of a side dish (which is not to say that your side dish is any less nutritious or delicious than your main course, but much like the main course at a fancy restaurant, the dialogue tag gets priority.)

And because I am sneaky, I have nested another set of dialogue lessons into these three examples. Example G is the vanilla version of combining narrative beats with dialogue tags. It’s the format you’re most likely to see, and the most easily constructed.

But look at Example H. Rather than coming after the dialogue, as you’ve seen in previous examples, the dialogue tag (and narrative beat) come before the dialogue. The punctuation is very similar (a comma to conjoin each segment of the sentence), but you’ll notice that the first word of the dialogue is capitalized. Dialogue like this is basically a complete sentence nested within a larger sentence, and is punctuated independently (except when followed by a dialogue tag, in which case the period at the end of the dialogue becomes a comma, as we’ve discussed.)

Example I is even more complicated, with the dialogue split into two separate pieces by the tag/beat combo. In cases like this, you want to insert the tag/beat where there’s a natural pause in the dialogue (usually at a comma). But because you are continuing the dialogue after the tag/beat, you end the tag/beat with another comma (as we saw in Example H), then continue the dialogue as if there had not been any interruption (by which I mean, do not capitalize the first word of the second segment of dialogue). Here are a few more examples of how to do this correctly:

j.) “I hate to break it to you, mate,” he said, setting his hat on the bar, “but it might be time to admit defeat.”

k.) “You know,” she said, “it probably would have been faster to walk.”

l.) “I don’t normally say this,” the man grumbled, peering down at her, “but that was some damned fine shooting.”

Note, however, that if you split the dialogue at the end of a sentence, you end the following tag/beat with a period, not a comma, then punctuate the next snippet of dialogue as normal. Examples:

m.) “That wasn’t quite what I had in mind,” she said, pulling her shoes on. “I was trying to suggest we look for answers ourselves.”

n.) “If you don’t clean your room right now, you can forget about going to the park,” his mother said, hands on her hips. “Honestly, the things I put up with around here …”

o.) “We could always kill him,” she suggested, frowning when her girlfriend looked at her in horror. “What? Why are you looking at me like that?”

2. What to do when the dialogue goes on for multiple paragraphs without a break. This is a fairly rare occurrence, since most of the time, it’s pretty easy to sprinkle in a response from another character to break up a monologue, but you may find occasion to use it, so here’s an explanation: When a single character is speaking for more than one paragraph at a time, without any sort of narrative beat or interruption, you punctuate it like this:

“See, Leah was a fine young woman. Had a mouth on her, sure, and she could shoot a man dead in the eye from a hundred paces, but she had her chips in a row, if you take my meaning.

“Cindy, now, she was a different beast. Mean as a rattlesnake, and just as quick. Why, I’d rather go into a gunfight unarmed than cross her. And that’s not even takin’ into account that dog of hers. Meanest sumbitch I ever did see.”

Notice that there is no ending quotation mark after the first paragraph. This indicates that the dialogue is not yet finished. Note also that there is an opening quotation mark at the beginning of the second paragraph, which acts as confirmation that the dialogue is indeed still going on. And then, at  the end of the second paragraph, when the dialogue actually is over, there’s a closing quotation mark. As I said, it’s rare for dialogue to go on for more than one paragraph without some sort of interruption, but it does happen, so it’s best to be prepared for it.

3. Quotes within quotes. Another situation you might run into is having a character quote something another character has said (or mentioning something, such as a poem, song, or short story which would ordinarily be in quotes). Fortunately, this one is pretty easy: you follow the same rules you would with any regular piece of dialogue, except that instead of putting it in double-quotation marks, you put it in single quotation marks (note: with British English, the reverse is true). Here are some examples:

p.) “And then she said, ‘Well, I just don’t know what you’re talking about.‘ As if she really didn’t know! Can you believe that?”

q.) He leaned back in his chair, expression thoughtful. “Yeah,” he said in his gravelly voice. “I remember the first time I met her. Up on stage, singing an operatic version of ‘Second Chance.’ Damned beautiful, she was.”

r.) “You’ll find ‘The Raven’ on page two-hundred sixty-four of your textbook,” the teacher said.

And that’s pretty much everything you need to know about punctuating dialogue. Please let me know if you have any questions or would like clarification on any of the above points. In the future, I will post lessons about how to write dialogue itself, but that’s a ways off yet. For now, I hope you found this post helpful, and thanks again for reading.

foŗgo͏tt͝e҉n͘
( antisepticeye )
 foŗgo͏tt͝e҉n͘

@emghost23: Hey, I have a script suggestion for anti if that’s okay? Sorry if you get a lot of these. It’s dialogue from one of the endings of ‘Five nights at Candy’s 3’ and I thought it could fit anti quite well. I had to change it up a bit to make it fit a bit better, but it’s still largely the same. You don’t have to use it if it doesn’t fit your vision of the character. Thanks anyway :)

Lo͞ok ̵at̡ ͞mè. ͠I͝ ͢j̢uşt̷ w̛a̶n̢ted t͟o͠ ̢h͢e͏lp͏. I wa͏s͡ y͢ou͟ŕ ͟fri̶e̛nd̶. ́Yo̵u͘ ͝s͘o̢ ba̧d̷ly want̨èd ̧t̛o̸ fór͞g͠e̢t҉ me, aǹd I̧ ̨d͢ǫǹ’t ̡k̛n͜o͏w͟ w҉h͞y͏.͟

I̸ o̢nce͟ b͜ro̴ugh̛t̕ y̢óu̶ h̕a͢p̢pin̵ess̸.̴ B͠u҉t̢ ̧no͠w al̸l ͟I b͘ŗin̴g y͡o̸ù i̵ş s͝o͠rrow. I̛’m ́u̡nw͏an͘t̛ed,̨ ͝an҉d͟ ̨u̴n͏wa͞nt҉ed ̛męm͞o̵rie̡s bec҉o̷m̷e…͘ ni̧gh̛t̶m̧are̡s͡.
͝
T̕h͢ey̶’͡ll͜ kee̕p ͝c̵o͝miņg baćk̴, s͝top̡ping̨ ҉y͜o̧u̴ f͏ro͟m̀ ̡e̛ve̛r re͞me̷mb͘er̨i̶ng͞ ̕the ̴t̴rùt̢h̸. I was͟ you͘r w͜ay̴ o̡f gett̕i͟ng̕ ͡rid ̛of̀ them͝.͞ ̵An͢d no̷w̕ ͠t̡h͟ey,̢ a҉ńd ̷I, ͝wi͏ĺl h̕aun͏t͟ y͘o̵u ҉for͞ev͝e̸r…̸
̴
…҉But ̀I h͏av̧e̡ a ̴solutio͠n.́ Y̕oų cąn͟’t ͏p̕os҉s͡ib̧l͞y̡ ̛h̷a͟ve͞ an̡y̢ n͜i͏gh̨tma̧re͏s..̕ ͝
if͜ y̷o̧u̶ ͘can’̛t̶ ͡s͝le̡ep.̕ 

No ͠nigh̕tmar̴es… o̶t́h҉e͡r͞ than ḿe. ́Don͡’͝t ͝w̢or̀ry a̶b҉o͏ut͜ m͡e҉ tho̴ug̸h̷.̛ I̵ w͠ill s̕tay ͡h͠e͏r͝e and wat̡ch̸ ̧you͢.͢ ͝Forev͝èr.͞ It’̕ś ̵ir̛o͏ni͠c͞, ̧r̡e̵aļly. You̡ ͟w̛a̢ntęd to ͟f̢org̡ét ͢m͠e ͢s̵o̶ b́adl̢y͢. B̶ut ̕nơw, b̀ec͟a̶use ҉of͜ ͟w͏hat ̷you’ve҉ tur̷ne͏d̀ ̸me͟ i̧n̸t̷o, I’͟ll ́b̴e a ͞thou͡g̶ht hid̶dęņ ͟i͡n t́he͘ ̧back͠ ̵of ̕y͟our͡ m͏i̧n͞d.͞ A͟ ̢feel̕i̡nģ of̴ ̕r͞eśtle̵s͠s͢n̨e͘s҉s҉ t̀h́a̢t you̵’̵l̕l ̨NĘV̡ER̶ b̴e͞ ̧abl̛e͡ ̢to̶ ge̸t́ r͝íd̀ ̕of̴.͢

Tru͟t̸h ͘i̛s,͟ I͞ ̵c͞an͘’́t k̴ee̛p̴ ͜y̢ou aw͟ake ̵f̵o̴rev͏er.͏ ͢But I ̧c̨an̷ ̛st͜ill ͠keep͘ ́y͝o̸u ̵a̸w͜ake, ̷e̶v̨èry t͏im҉e̴ ͠y͝o͟u͜ cl͝os͡e ̨your ͜eýes̴.͘ A͞nd̨ eve͞r̶y͞ ̴ti̡m̧é yo̷u ̸d̷o͝, ̴y̛o͞u̢’̛l̨l bȩ st̡ar͞i͜n̵g̡ ́d҉i͡ŕectl͘y̧ i̕nt͠o m͞in̴e͟.̨

meraquea  asked:

Hi mai ^^ In school they taught me not to repeat myself so often, but in multiple books they have no problem with that. Im talking about things like 'he, she, said, or the name of the character' So im confused now. Is it okay to repeat yourself or not? I hope you can understand my dilemma cause im from germany ^^° Sincerely Mera

Why You Shouldn’t Be Afraid of Repeating Yourself

Said Ain’t Dead 

People always run into the dilemma of not wanting to repeat “said” a lot so they use a number of different synonyms. However, the issue this causes is that you end up with words that just don’t seem right. I suggest you find a happy medium. Don’t use said every time you want to use dialogue but only deviate from it if you’re trying to express a certain emotion.

Say my name, say my name

I’m sure in your reading life, you’ve came across something along the lines of “the tall woman” or “the skinny man.” There’s nothing wrong with this sort of description but it can become quite tiresome and boring. You need to include your character’s names whenever it is unclear who is talking or doing something. 

He/She/They

Words like those above go over your readers head. They register them but not really. So long as you vary your sentence starters, there is no problem with repeating them.

anonymous asked:

Theory: max's parents sent him to camp for praying the gay away (one of the things they do actually offer in the commercial) hence why he hates the camp so much

Ooooh, very interesting!

Honestly, I have considered this as an option in the past, but never had that much evidence to really support it. Looking back, there are scraps here and there to suggest Max was at Camp Campbell for this reason. The first is in episode five. Journey to Spooky Island. when Max says this line: 

Just teenagers from the Church Camp working on those repressions again. Not that I’d know anything about it, being a kid and all. 

This bit of dialogue, while seemingly just a throwaway line on the surface, is very substantial to this theory. It not only shows Max clearly knows more than people think he does on this issue, but also suggests he has gone through them personally. There were a few other pieces I thought might be able to fit in with this theory, but they were such minor things that I felt didn’t really help solidify this theory.

Anyway, I certainly think this theory is quit possible, and I may even revisit it if season two gives us any further hints towards it.

(apologies for no visuals, my computer is being a butt today for some reason) 

seamusaran  asked:

How aware do you think Stannis is of his part in Renly's murder? A lot of people seem to think he was unapologetically on board with the whole thing but his dialogue after involving Renly's peach always suggested to me it was more a case of that while deep down he knows he had something to do with it he avoids thinking about it and has quite deliberately not dwelled at all on the idea of who killed Renly. I.e. he is remaining wilfully ignorant of his involvement.

That’s basically my read on it too.

Stannis’ behaviour at the parley between him and Renly and before seems to me that even if he has some Melisandre-inspired belief that Renly’s doomed, he doesn’t know when and where that doom will come about. Catelyn III, ACoK, tells us in its first few paragraphs that Stannis’ foragers have been cutting down trees for siege towers and catapults; Catelyn IV, ACoK tells us that he’s got his battle lines sorted out for the inevitable attack. From Catelyn’s outsider perspective, and that of everyone else on the field, it sure looks like Stannis intends to fight it out in battle.

Davos II, ACoK, of course, is the chapter with the best discussion of the issue of Stannis’ guilt, and I’m willing to take Stannis at his word here, given how the opening of his conversation with Davos shows how he values honesty.

Davos had come too far with Stannis to play coy now. “Last year they were Robert’s men. A moon ago they were Renly’s. This morning they are yours. Whose will they be on the morrow?”

And Stannis laughed. A sudden gust, rough and full of scorn. “I told you, Melisandre,” he said to the red woman, “my Onion Knight tells me the truth.”

In this context, I really don’t think Stannis would return Davos’ honesty with deliberate lies of his own. So when he confesses to Davos that he dreams about Renly’s murder (giving enough details for the reader to know that some part of Stannis was definitely involved), I’m inclined to believe what he says.

First, there’s how the topic of Stannis’ whereabouts at the time of Renly’s murder even came up in conversation.

“I have no doubt that Cersei had a hand in Robert’s death. I will have justice for him. Aye, and for Ned Stark and Jon Arryn as well.”

“And for Renly?”

In response, Stannis starts talking about where he was and what he was doing. That alone would indicate that at this point in time, after the fact, he feels he bears some kind of responsibility.

“I was still abed when he died. Your Devan will tell you. He tried to wake me. Dawn was nigh and my lords were waiting, fretting. I should have been ahorse, armoured. I knew Renly would attack at break of day. Devan says I thrashed and cried out, but what does it matter? It was a dream. I was in my tent when Renly died, and when I woke my hands were clean.”

He’s still talking about those battle plans. It seems from this that his expectations were to be fighting that morning, not watching Renly’s army splinter following their king’s murder. I really don’t think Stannis had knowledge before the fact - at most, I think Melisandre told him “this is some magic to assure your victory tomorrow.”

After the fact, however, it also seems Stannis knows in his heart that this was more than a dream (”and when I woke my hands were clean”), and really does not want to connect all the dots. As he summarises the matter twice in Davos II, “[Renly] brought his doom upon himself with his treason,” and in the parley with Cortnay Penrose,“the Lord of Light willed my brother die for his treason.” Much easier to think of it as divine retribution.

anonymous asked:

could i ask for some poly Jotaro and Kakyoin with a fem s/o trying to get over her fear of Asian horror movies like Ju-On/The Grudge? (super specific i know but i tried last night and i still can’t watch it 😭)

- Jotaro’s super stoic throughout pretty much everything they do. Horror movies don’t seem to bother him - he saw worse things in Egypt, after all. He sits and is pretty quiet throughout it all, though he does give an occasional awkward pat to his s/o’s shoulder to calm them when they seem to be jumping more than before. 
- Kakyoin, on s/o’s other side, is very invested in the movie. Egypt didn’t rob him of his interest in horror movies - in fact, he seems to take a perverse kind of glee in them now, pointing out inaccuracies and injuries that should be fatal and making fun of bad dialogue and characterization choices. 
- He’s the one who suggests the J-Horror - that’s his culture, ghosts from his own background, and he’s very interested in sharing as much of his culture with his s/o as possible. Especially as Jotaro seems less interested in doing so - probably because growing up half-American, he has a strange relationship with his Japanese heritage, and not quite the same pull and devotion to it that Kakyoin has. 
- Kakyoin’s glad that their s/o is spooked by them - that’s the point of a horror movie, after all! But as it gets further in and they seem to be frightened but not enjoying themselves, he knows he has to do something. Jotaro’s bad at reading people and probably hasn’t even noticed that they look ready to cry. Horror movies are only fun if you’re enjoying being scared. 
- He leans over and asks if they’re okay - of course, they don’t want to look too frightened in front of their boyfriends who have faced an immortal vampire, so they lie and say they’re fine. Kakyoin, pursing his lips, shifts closer and puts his arm around them and gives Jotaro a Look so he knows to do the same. 
- S/O is slightly comforted by their closeness, but Kakyoin can still tell that they’re tense after the movie is over and they all head off to bed. He leans in to whisper more folk tales from his childhood - things that repel bad spirits, things they can do if it will make their s/o feel better. Jotaro, getting changed into his bedroom attire, looks at them both. 
- “Nothing will hurt either of you,” he grunts, “Star Platinum wouldn’t let it.”

intellesture  asked:

hiiii dzień dobry~ I'm half polish and know very basic, but i want to relearn it. I don't really have a lot of people to practice with and im not sure where to start on books. Do u have any suggestions? dziękuję <3

Cześć ❤︎, do you mean textbooks or books to read and practice?

if you mean textbooks what i recommend are:

-Polish doesn’t bite-I looked through this one and it seems good and I used another book from this company to practice Ukrainian

-First Polish reader for beginners- this one has texts in English and Polish that vary in difficulty from very easy to a bit more complicated

-Polish for dummies- of course this one had to be here. It’s one of the more popular ones and it teaches from the complete beginning

-Mastering Polish-also teaches from the beginning but it’s more complicated. I heard some people say it works well for them but i think for most it’s a bit too confusing

-Lonely Planet Polish phrasebook and dictionary- a good choice for those traveling to Poland

-HURRA! Po Polsku: vol.1 - This one is HARD but very effective if you commit to it. you need to know how to read Polish before you start. The grammar is quite nicely explained though some of the dialogues are… weird

-A concise Polish grammar by Ron F. Feldstein- as the title suggests it’s grammar. And it’s online 

-and lastly this Wikibooks. It’s helpful if you need to quickly check something but if you try using this alone to learn I’m afraid you won’t go far

-EXTRA: I totally recommend this website. Like above, don’t use it on it’s own but for the good native audio.

That’s all I can think of for now. I hope this was helpful to you^^ Wish you luck

Where does Chihaya’s and Taichi’s relationship stand, as of now?

An anon asked me a similar question very, very long time ago and I have been meaning to answer it. I’m seriously terrible at giving prompt replies, gomen. But there was another reason as to why I didn’t reply immediately. At that point of time, the manga was still focused on the team matches and we hadn’t seen proper interaction between Chihaya and Taichi after the incident in Chapter 138. I say proper because I do not really count Chapter 164 and 165. Taichi and Chihaya barely exchanged any words and those chapters were more in relation to his disappearance and apologies to his teammates. In that sense, I couldn’t really figure out how Chihaya and Taichi would act around each other. However, with the latest chapters, specifically 174 and 175, I have been able to get a better grasp as to how they are now.  

I think what is clear to everyone is that they are no longer the same as they were before. In fact, after Taichi’s confession, this was one of the first things that I expected. That there was no way they could revert to the way they were before, even if they reconciled and started talking to each other again. Taichi’s confession would be one of the major turning points in the manga. A lot of things decisively changed, ended, began after it, and it is undeniably shown in the narrative. Taichi’s and Chihaya’s relationship would be one of it. I believe that this is precisely why Taichi was so afraid to confess to Chihaya in the first place. Because he, too, knew of the consequences if the confession turned on its head. Which it did, of course. So, what exactly is their relationship now? Is there any way to term it? The way their relationship is being depicted now, in my opinion, can mean two things. And that will be analysed in the bulk of this post.

Keep reading

anonymous asked:

Tumblr is full of writing tips posts. What is the most stupid and horribly wrong writing tip you've seen here? That possibly made you go 'ffc no, you should never do THAT'

Honestly I see so many horrible fucking writing tips that I often don’t know where to start.

But there’s one I see a lot which has persisted over the years on Tumblr, and would have like…genuine writing teachers responding like this:

And that’s any writing advice that suggests about four million other words you should use in place of the miraculous word said.

There was this trend (it’s thankfully on its way out) of posts that got absurdly Thesaurus happy to suggest a billion other words you could use in place of ‘said’ as though you were in a Sir Arthur Conan Doyle story where characters would ‘ejaculate’ instead of speaking (yes really: ‘I can’t believe it!’ he ejaculated.)

Said is a marvellous word. It’s really an incredible, wonderful word.

The rule for using words like ‘whispered’ or ‘taunted’ or whatever is (and this is not universal): if you can tell what the character is doing from the dialogue alone - use said. If there is no way you can tell tone from the dialogue, consider using something other than said to indicate tone. If you always have to use something else, your dialogue is probably not very good. And if you constantly use a word other than said because of I don’t know…personal vanity or whatever - that’s awesome man I can be guilty of it too, but sometimes it really means that you’re telling your reader the same thing multiple times in different ways and it can get jarring.

Said is a nice, invisible word. It’s mostly just letting people know who is character A and who is character B and who is speaking when. That’s all its for. Invisible words are great in writing! Why? Because they aid reading flow. The invisible words get your reader’s eye to the most important parts of your story.

Dean Koontz used to do this thing where he did great streams of dialogue and omitted all markers of who was speaking. Almost no one liked it, and almost everyone got confused by it. But it was a personal habit of his and he did it for about a decade before he was like ‘wait people really don’t like this‘ (to be fair he could do it for like three solid pages, like seriously imagine this:)

‘I don’t know’
‘What don’t you know’
‘I’m just saying this horrible thing we’re dealing with…’
‘Yeah maybe we could do this to fight it’

FOR THREE PAGES IT GETS CONFUSING. (In short sections it can work). Sometimes how your character talks is not enough to get you through that clusterfuck. Enter the miraculous word ‘said,’ with a name or pronoun in front of it, that just acts as a gentle map for the reader, that goes ‘hey maybe you’re not reading this like it’s an examination for university, and to help you not get lost, here are some words you hardly have to notice to make sure you’re still involved in this story.’

Dean Koontz doesn’t really do this anymore, lol.

Anyway, honestly, I am kind of…against universal writing tips anyway, so any time I see a writing tip post on Tumblr, 9/10 I am usually doing this in response:

And it’s sort of… it’s a few things:

- I think a lot of these posts are written by highschoolers or first year university students who are sort of processing some basic writing rules (that in no way apply universally, culturally or even geographically to all - seriously if an American incorrectly ‘corrects’ my Australian grammar one more time I will reach through the internet and throttle them, we don’t use double quotation marks for our dialogue!) and do that by sort of regurgitating them with their own take and applying them to everyone. It’s awesome they’re learning, but you’re not in their class, and they are not your teacher. A lot of these articles are like post-educational-processing and not actually genuinely helpful writing advice.

- The universality of these tips tends to annoy me. It’s one thing to suggest that most fics on AO3 should have paragraph breaks - that’s basic functionality and accessibility, in the same way that it’s basic to put spaces between words. But it’s quite another to suggest that passive tense is always evil or adverbs are the devil. It’s simply not true. Fucking Pulitzer Prize winners have used both, lol. And they didn’t win in spite of doing these things. It’s one thing to say ‘it can be lazy to rely on this too much’ it’s another thing to say ‘no adverbs! Ever!’

- Sometimes it’s really really really easy to tell when someone has picked up Stephen King’s writing book. Also that book is super fucking ableist. Like most writing books, it’s centred in a whole lot of privilege. Also Chuck Palahniuk’s writing manifesto doesn’t apply to 98% of writers but thumbs up if you’re in the two percent.

- ‘How to write’ is an intensely personal process. Writing tips are like…idk, good to read, but in a light-hearted way. Sample often, discard just as often. Try before you buy (into it). Always think ‘do I know authors who have broken this rule and did I still find them entertaining?’ Almost always the answer is ‘yes.’

- I know a lot of professional writers and editors. Like, that’s my main ‘crew’ online (and in real life, even though I hardly ever see them, but if I see more than four people at once, it’s generally some of the big writing names in Perth and we’re usually bitching about something like how many small publishers can’t stand up to Amazon and not how that one author always uses ‘said’ too much pfft). On Twitter. On Facebook. On Dreamwidth. All I hear about every day is people dropping new books, getting nominated for awards etc. and here’s the thing about professional writers - they rarely share the same kind of writing tips you find on Tumblr, because they’ve learned that a lot of that stuff isn’t universal. 

Most of us are tired of Tumblr articles on how to write (don’t get me wrong, some of them are very very good, and Neil Gaiman has given lovely advice on Tumblr repeatedly - I don’t actually love his writing, but good god, I love him as a giver of writing advice lol since he’s not a homogenising dickbrain about it), most of us are tired of the grammar police, etc.

Anyway I do get impatient about it and it’s one of the few areas - there’s a reason why my ‘on writing’ / ‘pia on writing’ tag tends to feature very specific sorts of writing advice - i.e. focused on encouragement and motivation, over people saying ‘this thing should be universal’ when no, actually, it shouldn’t be.

And my way isn’t the right way either? And that’s why I don’t often share writing tips (though I think I could stand to do it more sometimes, maybe some people want to actually learn to write like me; I don’t recommend it personally lol). Like I break rules because I like the outcome, especially around length and passive tense and long scenes without ‘scene breaks’ and so on. But theoretically Cecilia Dart-Thornton’s The Bitterbynde Trilogy would be trash by some of these writing articles standards and it’s honestly one of the most sumptuous epic fantasy trilogies of all time and the purple prose works and it deserved the awards it won.

So imho, honestly, a lot of those articles can bite me, lol. But especially the ones where people are like ‘hey, have you considered not using ‘said’ and making everything 400 times harder for your reader, just to prove you can use a thesaurus???’

(PS: I talked to Glen about this, who is also a writer (and scriptwriter) and the thing he says he hates the most is: ‘write what you know.’ Totally feel that too.)

Giving Great Critique

Receiving constructive criticism of my work can be great. It helps me hone my skills and keeps me conscious of my efforts as a writer. Also, it shows devotion from the reader: they want to help me improve (which is lovely when done constructively!) 

However, one very important part of this is pinpointing examples in the story where you think a potential issue may have occurred. It helps me hugely!

Basic: “I felt Mycroft’s characterisation was a bit off.”

As critique goes, this is a bit nebulous. It lets me as a writer know something didn’t sit well with you, but it doesn’t help me pinpoint and evaluate the issue.

Better: “Some of Mycroft’s dialogue in chapter three didn’t seem to mesh with how we see him in canon.”

This is more helpful. Not only does it suggest that dialogue is the problem, but it gives me a rough location so I can look at it again and see what I think.

Best: “I felt that Mycroft wasn't quite in character. For example, in the scene after they pull Sherlock out of the brothel, Mycroft is talking in Lestrade and uses the phrase “Down with the kids” unironically. While I could see him saying that, it would only be as a joke, perhaps with a raised eyebrow or a bit of disdain. I thought you might want to know it pulled me out of the story a bit.”

Brilliant. The commenter has narrowed it down to a specific scene and has even been able to put their finger on what the problem was. That means it’s really easy for me to and take a look, judge it for myself and either work with their suggestions or otherwise fix it.

Even if you just felt something was off throughout the story, picking one particular part that made you think that and highlighting it can be super helpful. It gives me somewhere to start looking and improving, and you can bet I’ll get right on it. Vague critique is far less actionable, and unfortunately nine times out of ten it doesn’t really help. I can keep the issue in mind as I continue to write, but that’s about it.

On typos: If you find a typo and want to tell me about it, the best way is to copy the sentence where it occurs and enclose the problem in brackets e.g  “The cat jumped on [it’s] chair” 

This is because while some typos are really distinct, others are not, and if the story is a long one then something like the example above would be almost impossible to find.

(Also, sometimes a mistake can be staring me in the face, but because I have spent so long in the guts of the story, I cannot see it for looking. Putting it in brackets means I don’t lose my mind looking for a mistake I’ve gone brain blind to!)

I can’t speak for other writers, only for myself, but giving examples from my story about where you think the problems are is hugely beneficial, and really makes it feel like the commenter is eager to help me polish and improve my work.

perthshire-and-pemberley  asked:

If you're interested in FS prompts, here's one: Fitzsimmons start to bond with May over their dislike of coffee (early s1-ish?) because I love May+Fitzsimmons! (Just out of curiosity, would that brotp be called Fitzsimmay, or is there a name already in existence?)

AN ~ Ha! This prompt cracked me up!! and I miss the S1 Bus Fam so much </3 but this was fun!! (as for the name - I think there’s a sort of Mamma May, May & the kids, May & the ducklings thing going but nothing in particular for May+FitzSimmons I don’t think).

Also, inspired by @the-nerdy-stjarna challenging herself to write some beautiful prose recently I decided to challenge myself on some dialogue and banter (which is ofc extra tricky when May’s involved!) Hope you like it :D

Read on AO3

-

Jemma laughed, as Fitz reshuffled his lanky legs in the tight space the backseat allowed them, for the third time.

“Are you quite alright there?” she asked.

“Fine!” he insisted, grumpier than usual. “Just… for ‘field work’ there don’t seem to be many ‘fields’ involved, that’s all. ‘f I wanted to be sitting around in stake-outs all day I’d join the ruddy police.”

“Or become a clown,” Skye suggested.

She snorted with laughter as, desperate to get a proper stretch, Fitz stuck one of his legs between the two front seats – in the space over the handbrake and gearbox – and began flexing his ankle enthusiastically.

“Um, Fitz,” Jemma muttered. “I don’t think you should –“

“What?” he challenged. “D’you want me to get deep vein thrombosis? Because that’s what’s happening otherwise.”

“No, of course not,” Jemma insisted. “It’s just –“

It was just that she hadn’t missed May’s stern face in the rear view mirror. She was certain that May was judging her; judging them, for their immaturity. No doubt as the Cavalry, she’d been on some missions that required an extraordinary sense of control over one’s body. Of stillness. Missions where sticking one’s leg across the length of an entire car was not just poor form, but a deadly mistake.

Of course, as usual, what she thought was unclear, but May’s gaze did not flinch from the mirror, though she must have known that they were reading into it. What they were reading into it. She hated them bringing it up, so they stayed silent, but – appropriately chagrined, and with some difficulty – Fitz drew his leg back into the back seat and muttered an apology.

It was at this moment that Coulson appeared from back across the street.

“Target’s getting coffee so I am too. Anybody want anything?”

“Americano?” Skye requested.

“Sure?” Coulson checked. “Shield’s buying.”

Skye shrugged. “I said what I said.”

Coulson nodded, and pointed his finger to commit the order to memory.

“One Americano,” he recited, and moved his finger to Jemma. “Anything for you?”

“Um, do they have tea? I don’t mind which kind, just, preferably brewed, not bagged.”

Coulson grimaced, unconvinced.

“I’ll see what I can do,” he promised. “Otherwise I hear they do a great wheatgrass?”

“Okay.”

“And you, Fitz?”

“Tea please. Black. Or nothing. Unless we have a better bathroom situation than last time.”

Coulson shook his head, sympathetic.

“Okay. One Americano, one tea-or-wheatgrass, one tea-or-nothing…. and Melinda, might I interest you in the holiday special, mint spice frappuccino with pieces of candy cane?”

He took one look at May’s glare and grinned.

“And one ‘go to hell,’” he finished. “Got it.”

He disappeared to fetch the coffee, and if Jemma was not mistaken, May snorted.

“Well,” May said. “That’s one sensible decision you two have made today.”

“The tea?” Jemma checked. “Oh, no, we don’t care for coffee at all really. You can take the Brit out of Britain I suppose….”

Skye snorted.

“Sure.” She elbowed Fitz. “I saw this one salivating over Coulson’s last offer. He’d sell his soul to coffee for a little good ol’ fashioned whipped cream.”

Fitz scoffed.

“I’ll have you know that’s hardly a coffee,” he retorted indignantly. “It’s practically cream with a little flavour! And you can get it with icecream.”

“Fitz!” Jemma gasped. “You’ve had that thing? Inside your body?”

“Yeah he has.” Skye made a suggestive expression, and Fitz kicked her as best he could from the given angle. All the while, Jemma was beginning an educative rant about the calories, the sugar and fat and Fitz’s diet more generally, and Skye didn’t pause the burgeoning skirmish to cry:

“Don’t bring Little Debbie into this!”

They squabbled even as Coulson climbed into the car a few minutes later, tray of coffees in hand. Unfazed by the ruckus in the back seat, he and May watched the target cross the street in front of them, Ward on his tail, and Coulson passed the tray of drinks over.

“How’s it going?” he asked calmly. “Did you tell them the espresso machine story?”

“I don’t tell stories.”

“To bad, I do. Hey, guys!”

Coulson leaned his head over the back seat. Immediately, the younger three stopped fighting and sat to attention.

“Yes!” Skye cheered. “Hit me with the caffeine, AC!”

“You’re gonna have to fight May for it,” he deflected.

“Keep your damn legs still for the next five minutes and I’ll hand it over,” May promised. After a chorus of ‘yes ma’am’s she begrudgingly handed out the drinks – teas first, and then Skye’s coffee only after Coulson had announced that they needed to move the stakeout van after all.

“Oh yeah,” Fitz remarked with a snort. “Ward’s still out there tailing. Poor sod.”

“Get better at keeping to your damn self and you could be out there too, you know,” May remarked. Startled, Fitz and Simmons shared a glance. May could see Coulson was just about busting a vein trying not to grin at her – he’d always known she’d get attached – but she decided to lean into it anyway.

“I’m just saying,” she clarified. “You have the makings of good agents, all of you. Some of you even have good taste.”

(Skye laughed and raised her Americano in salute to herself. “Burn.”)

“And I think if you knuckled down and put the work in you really could make it into the… ‘actual field,’ one day.”

Fitz shook his head profusely.

“Oh, no thank you. I’ll take a little thrombosis over a bullet to the head any day.”

The van drove over a bump, sloshing his tea, and Fitz cursed.

“Oh, Fitz,” Jemma sighed, and passed her cup to him as she began to search for a piece of tissue or fabric to soak up the spill.

May rolled her eyes and turned her attention back to the road ahead. They had a long way to go.

Okay so I’m doing my favorite daily activity again, which is thinking procrastinating extremely important work and thinking about the season 2 soundtrack.

So far, we’ve heard at least 5 of the 7 new main tracks (lets exclude the background/atmospheric stuff likely featured on disc 2 for now).

APETITAN obviously is the beast titan theme, heard throughout numerous instances in ep 1-4, the episodes where BT was more or less responsible for the ongoing action. 

YouSeeBIGGIRL or Call of Silence is the new Vogel im Käfig ft Gemie, used during Ymir’s transformation in 5, and the RB transformation in 6. Personally, I’m suspecting it to be Call of Silence, only because its a more general title. Honestly its just a guess though, could be either.

attack音D is what I suspect to be Counterattack mankind 2017, heard twice in ep 2 and once when Eren was standing up to Reiner in 7 before becoming the flying titan. 

ERENthe標, according to Fuku-Shuu, means Eren the coordinate, which is pretty appropriate considering we’re getting the coordinate this season. And since that’s arguably one of the most epic, monumental, large scale intense sequences in the whole manga, it’d be appropriate to give it a theme matching its proportions, which, so far, I suspect to be the track that plays just before RB transform in ep 6 (Reiner revealing his arm, Mikasa slicing and dicing). This definitely is not part of Vogel, we’ve heard portions of Vogel in ep 5 that were covered by this track in ep 6, so its definitely its own thing (can also briefly be heard during the herring scene). It’s probably my favorite track out of all the new ones so far and if it doesn’t play during ch 50 I’ll punch a goat.

Barricades is the upbeat track heard in PV2, which we haven’t heard at all in the season. There is a slight possibility that, when Connie was preparing to leave Rakago behind, the opening notes of that song started playing, but we’re not sure. Quite frankly, I’m starting to get worried about where it’ll end up being placed: it’s way too upbeat for anything starting chapter 48, but too fast paced to only be applied in the middle of some dialogue sequence. The only possibilities I can think of are some sort of extended departure from the wall next episode, or perhaps some point in ch 47 (RBY leaving, SC pursuing maybe). Other than that…I’m out of suggestions where the track would work out. 48-50 are WAY too dramatic for anything really upbeat. 

This leaves us with two tracks yet to be confirmed/heard. son2seaVer….I don’t even know what that means, but that’s not exactly unusual with Sawano. We know it’s not credited to have a vocalist, but that’s not to say there won’t be vocals at all: background vocals, even if by his main singers, aren’t always credited by Sawano. Another track we’ve yet to hear would be the 2nd Gemie track, the one  that isn’t Vogel 2017 (my money on it being YouseeBIGGIRL/T:T). This one definitely has vocals, and we definitely have yet to hear them.  

Those two tracks ultimately are the biggest questions marks left. I was hoping we’d hear some of them during the AT fight, but the 2nd movie OST took over. So….next episode maybe? Hopefully? Pretty please?

We still have a few undetermined tracks used in the season though. An atmospheric background piece at the end of ep 2 when Connie returns to Ragako, which reappears during the RB/Eren talk about the hometown in ep 6, and a little later when Reiner reveals their identities. Another atmospheric track is used in the opening scene of ep 3 in Ragako, it reappears in ep 5 during the snowstorm and ep 6 when Ymir is lifted up the wall and a bit further. There’s a new piano track playing during the yumikuri scene at the end of ep 5, which is pretty damn lovely. Last thing is an ambiance thing playing when Historia is yelling from atop the tower just before CAM 2017 starts, but that could be just the natural prelude to the new CAM. I find it unlikely that any of these tracks are part of the main tracks mentioned above, and suspect them to be the additional tracks listed on the 2nd disc.

Conclusion: we have two main songs that we haven’t heard at all, and we should look forward to them. 

anonymous asked:

sorry to bother you, but maybe you can explain, why are people saying Dean didn't notice something was off about Cas? he clearly said "something seems off about Cas" in the episode, didn't people hear that? also, I think Lucifer did a REALLY good job of being Cas, with the soulful staring. the emotional conversation and everything so I think it's pretty impressive that Dean noticed something was off at all. also didn't we already know from the promo they don't notice until episode 14?

Yeah… To be honest, the “wrong shoulder, dude” analysis from before the episode was a speculation that held up in the scene, to my eyes? And as you say Dean DID know something was off by the end so I don’t need to convince you :P I also thought it was pretty obvious that Dean ended up suspicious.

Dean could not have been OVERLY suspicious of Casifer once they started interacting. I think tbh the way Dean mistook “Cas” for an intruder and came rushing down the hall gun in hand is a good sort of indicator that he had a correct gut feeling that something was weird, and he challenges “Cas” as soon as he finds him - “we don’t hear from you for days, you show up and start wrecking the joint?”

Casifer IS acting out of character for Cas, even when it comes to handling their property. Cas has spent some time now hanging out with them and touching their stuff, digging through their personal supplies without asking, even like in 8x08 where it was invasive snooping into Dean’s bag just out of curiosity about his toiletries. But he’s respectful about it and he’s not like a pet that still needs housebreaking that will just leave a mess and throw their stuff everywhere. Meanwhile Lucifer has knocked over two filing cabinets for some reason which can not be about making it easier to find things. The room is subtly messed up with drawers open everywhere and papers and index cards spilled, which I think is probably symbolic in of itself about the scene and how Dean gets unintentionally emotionally gutted by Lucifer - which he can only realise later. 

I think the important thing is that Dean is really really willing to accept an apology and an explanation because he doesn’t WANT it not to be Cas, so he gives Casifer the benefit of the doubt at the start of the conversation instead of challenging him right away, which I think is what some people would have wanted - not for Dean to even go into the conversation at all.

(Casifer seems to be taller than Dean, rewatching this :P)

Dean also takes a long time to meet Casifer’s eye as well: the subject is Amara basically the whole time they’re in the room together. and Dean is having a hard time talking about that, and so he’s clearly consumed with some self-centred thoughts about that as well, working up the nerve to talk to Cas about it - he’s been harping on it since the very first episode - his weird stare at the end of 11x01 and drinking at the end of 11x06 are both moments he really self reflected on what was going on about him and Amara and didn’t share, so this is half a season of build up for Dean to finally trust someone enough to talk, so he is clearly in turmoil if we take into account how hard this is for him to speak.

This gifset: http://ksenianovak.tumblr.com/post/138198364555 simplifies the reactions but gets the message across in Dean’s body language in a way I feel is honest to the scene, for people who can’t rewatch.

Through the “Attraction!?” bit of the conversation the emphasis on reactions is on Casifer since Misha is being scene stealing, but Dean continues to not make much eye contact, distracting himself to look for the knife he came for:

This is right after Dean confesses to the “attraction”. Casifer moves closer and Dean instinctively looks away, after two shots of him sneaking a glance at Cas in short succession to check his reaction isn’t too whatever Dean doesn’t want to see, so for HIS side of things, he is not paying attention to Cas, at least not for more than proximity and what he expects to hear, because he’s not devouring Cas’s reaction with his eyes, seeking out the full response. Dean expects comfort and understanding, but he also finds it hard to look at Cas. His grumbly “I know” about Cas’s “Dean,” sounds to me like he read it as concern and he’s saying “I know” as in “I have been angsting about this all season, trust me, I understand how bad it is.” He glances at Casifer a couple more ties, but he continues talking away down to the left as he admits about not being sure he can stop or resist it.

So he’s STILL not focussing on Cas’s reaction to all this - not more than understanding that Cas is currently hearing him out, and Dean’s got his expectations about what a heartfelt conversation with Cas entails to keep him going even if Lucifer’s reactions and mannerisms are not 100% Cas - Dean hasn’t even been looking at him to catch all the weird quirks of how he’s not moving like Cas any more.

And then FINALLY Cas puts that hand on Dean’s shoulder and Dean finally looks up and makes proper eye contact with him as Casifer says “It scares me too.” 

It’s his reactions after that which are really interesting:

His eyes flick up on “scares me too”

but if we consider that 11x10 gave us Cas pawing all over Dean in another “similar” moment of concern and Dean was totally fine with physical interaction there, the non-Cas way of holding Dean’s shoulder with the very deliberate touch as if “This is me putting a hand on your shoulder because that is a thing that comforts humans” is distinguishable from “Hi I’m Cas I would literally help you pick your nose if you asked because I have no sense of personal boundaries but I do care about you” - it’s not so clear that Dean suspects Casifer of being “off” just from this, but he seems wary in a way that’s connected to the way Casifer touches him and we know he does NOT mind physical interaction with Cas. So.

Anyway, his face is fascinating after that:

(I made these gifs slower than normal to peer at his face better :P) You can see his eyes narrow on “we will find out what this is, I promise” which means now he’s actually looking at Cas, he’s beginning to not quite trust the way he’s acting, probably because the shoulder grip startled him, but maybe because Cas isn’t quiiite talking like Cas in this amazing show of Misha acting Lucifer acting Cas.

And then finally, the infamous “this could be a good thing” line, which we got in isolation in the promos but is actually a run on from talking about drawing Amara out, an abjectly bad idea when Dean has been talking about how scared he is of her, and Lucifer of course is only saying Amara scares him too to worm his way in emotionally:

Dean looks away, and then his eyes flick back up to Casifer, and after that he looks away because his phone rings, but only AFTER he looks suspiciously at Cas. I feel like he might have questioned Casifer’s “this could be a good thing” and what he seems to be saying about drawing Amara out, but he is interrupted, so all we have to go on is a fraction of a look of suspicion and a flicker of narrowed eyes.

And then Casifer tells Dean he’ll be there when they face Amara next time and Dean’s like “thanks Cas” (the dialogue in this gif) and walks off without another word between them.

He’s still not meeting Cas’s eye and he looks quite concerned - if he already felt weird about Cas’s suggestion earlier about drawing Amara out using their connection, Casifer’s promise here is not particularly reassuring to him. I almost see the “thanks” as a sort of placating thing but is really a “… but no thanks” to that idea. Whatever it is, he does seem uncomfortable with Casifer here where he wasn’t until the wrong shoulder thing earlier. Maybe couldn’t meet his eye then, but it was for his own issues… And now it’s for Lucifer related issues :P

Anyway, like you say, they may not know about Casifer until 11x14 or so, but it’s reasonable for Dean to be suspicious and he did say he thought Cas was off. I don’t think even if he fully suspected after the junk room conversation that in the library conversation he would have said anything. And we know he’s spent half a season repressing about Amara so even if he did have a suspicion it WAS Lucifer and he HAD put it together as the only thing that could be “off” with Cas, then he’s not saying what he’s thinking as if to not make it real yet. So Dean not immediately figuring it so far as we can tell may just be Dean repressing this fear, just the same as he refused to talk for several episodes earlier in the season about Sam plausibly going to the cage in the first place.

anonymous asked:

fics involving dance?

we have a tag!

but here u go bc dance fics are my fav

Better With You By My Side 

Dan and Phil are both sons of rich families and are sent to ballroom dancing lessons. Because there is a shortage of girls, Dan and Phil end up as partners. Phil really doesn’t want to be there and Dan doesn’t either, but is so frustrated by the fact Phil doesn’t want to dance with him he is determined to get him to.

Human 

Dan is a dancer, but it is his best kept secret. Moving to a new college results in new friends, new hobbies and a new outlook in life; but what does it really mean to be human? A series of strange and seemingly unconnected events unfold that all seem to link back to Dan’s mysterious new boyfriend, etc.

Warnings: Minor character death, violence, drugs and alcohol, some bullying, mental illness (mostly recovery though, and with not a lot of detail)

DANCE WITH ME, DAN?

Phil is and classic dancer ,Dan is an karate teacher. One day Phil doesn’t have any company to practice and Dan accidentally entered Phil’s hall. 

I Like To Dance 

It started off as a hobby, something that Dan just did when he was alone. He’d just put his head phones in, shut his door and make sure no one could hear him, then he’d just let go. He could do it for hours before he got tired, and afterwards, he’d still want to do more

Dancing Dreams

Phil is the son of a school dance instructor. Sometimes, he helps out in the class and all of the girls fawn over him. One day, his mum instructs the students to find a partner and choreograph a dance in two weeks. Dan is once again left without a partner, so Phil volunteers.

Warnings: Self harm/self hate, bullying, smut

The Dancer And The Gamer (fem!phan)

Phil’s final ballet show is fast approaching and all she can do is practice. She never seems to find herself away from the school’s gym hall where she practices for hours on end every day. That is until she’s disturbed one day during practice by a certain brown haired girl.

Word count: 9000

THE WORLD IS UGLY BUT YOU’RE BEAUTIFUL TO ME

Trigger Warnings : Mentions of alcohol
Description : Chris and PJ convince Dan to attend the annual school dance with them and arrange for Phil to be there at the same time. Dan and Phil dance together to a My Chemical Romance and are utterly infatuated with each other.

Stolen Dance

 Piano teacher Dan Howell has a crush on a pretty co-worker that he wants to impress, and when he finds out she’s a dancer, he figures it can’t hurt to take dance lessons. But when he gets to the studio to meet his instructor, things don’t go quite the way he planned.

Warnings: Internalized homophobia; use of homophobic slurs; alcohol; use of alcohol as a coping mechanism; sexually suggestive situations and dialogue. Word Count: 14.3 K

GRACE AND ALLEGANCE

 Dan is looking for someone to dance with at the school talent show because he does ballet but he doesn’t know anyone else that does. He later finds Phil, the shy nobody that is usually seen being bullied, in the gym and doing ballet better than Dan could do it himself. Phil doesn’t want to dance with Dan at all so Dan has to find a way to convince him to dance with him at the talent show and at first Dan tried bribing him and being less than nice but they become friends and theres kisses

~i

Movies To Watch

Thank you all who responded on my question about what movies you would suggest to watch! Your cooperation is most precious!

Here is what you’ve sugested so far:

Sovietpic: 17 Moments of Spring is a classic, so you can get a good insight into Soviet culture, and since its about WW2 an American would understand a lot of it and pick up on stuff quick.

thepsiioniic: i’ve watched sections of Solaris, and it was both interesting and had some pretty simple dialogue at parts. C:h

rukino: Try to start with Soviet films from the 30s-50s (and a little bit of the 60s). The diction tends to be quite clear and there is enough written about most films of that era online that if you miss something you can find it out easily. Also there tend to be subtitles available. Many such films are on youtube, via the Mosfilm, Lenfilm etc. youtube channels. The language, although not exactly simple, is certainly going to be easier to understand than the naturalistic/slurred (depends on your point of view!) Russian we see in more modern films. I personally enjoy watching short Soviet propaganda films because they tend to be very simple with clear and straightforward ideas. The terms will be familiar to any student of history, even casual ones. My favourite films for learning Russian were Moscow doesn’t believe in tears (Москва слезам не верит) (on youtube with English subs) and The Irony of Fate-May your steam be light (Ирония судьбы - с лёгком паром) I would also suggest The Fall of Berlin (Падение Берлина) But the first Russian language things I watched were cheburashka and nu pagodi! And also Masha i medved’ Маша и медведь! Kids cartoons! :)

hyacinta: День радио was a fun movie. We watched it with our russian teacher once.

social-slutterfly: A favorite of mine is 9th Company. It’s on Netflix. I’ve also found Russian versions of Frozen and Paranorman online. Gotta do a little digging, but they’re all there.

igorisme: I know this is not what you asked, but moved to NYC from St. Petersburg when I was 11 and learned English by watching cartoons with subtitles. Watching the same ones over and over was key. Try “Ну погоди” и “Винни-Пух”, but there are many more.

Victor Svec on Twitter also suggested Баллада о солдате.

Thank you everybody! You were extremely helpful!