the quality is shitty but i wanted to get most of the scenes

Season 2: One Cour Drama

DISCLAIMER: This long-ass post was made off of other peoples’ insight to hopefully give a factual explanation for season two… and did I mention this was a long-ass post? It’s a long-ass post.

Sigh. I’m pretty sure we’re all done with this by now, lol. We’ve pretty much accepted the fate of SNK only being twelve episodes. But for those who are interested, I’m going to try and explain the situation with WIT Studio’s rationally, without a bias standpoint as a fan, as I struggle miserably to do.

Let’s take a look at Thomas Romain’s twitter, one of the animators giving insight on WIT Studios. This man is understandably upset about the fandom’s backlash. Everything in this post was inspired from his Twitter. So without further ado, Here’s what he has to say about SNK season two having one cour:

So basically, after reading his Twitter, I’ve realized the reasoning behind SNK having no Uprising arc in season two is because the anime industry is facing a crisis. There’s not enough workers, or rather, qualified workers to keep up with the amount of production. Animation schools in Japan are closing down and workers are being underpaid. According to Thomas, a junior animator gets paid around $4/hr. Where I live, employees with minimum wage get paid $10/hr just to work at McDonalds. So imagine having to draw around 350 drawings per month just for a shit $4 pay when you could work in the fast food industry for potentially twice as much ($6-8 in Japan)!

Also, Wit Studios is located in Tokyo, the most expensive city in Japan. When you’re living in a place like that, then you probably don’t want to work overtime for $4/hr. And this isn’t a problem with the current animation team working for Wit Studios; they’re fully devoted. This is an issue for potential future animators who probably don’t want to pursue in the field if that’s the life they’ll be living - meaning the industry is cock-blocking itself from having more staff.

I had a brief conversation with @lenok993 and we agreed that a good contribution to SNK having only a single cour is how many people decide to pirate the series, or watch it online for free. Considering purchasing the actual CDs doesn’t necessarily help that much, this is mostly speculation, but it’s really all we’ve got. I’m actually guilty of this so I don’t have any right to lecture anyone about that. But it’s always good to bring attention to that fact!

Also, it’s a misconception that I didn’t learn ‘till recently that the animation department does not get any portions of the merchandise being sold. They do get money from Blu-Ray purchases, but it’s definitely not enough to help out the animators’ paycheck. There’s just too many series’ and not enough people on the animation team.

Why not drop projects? SNK is what the majority of us want, so why not dedicate more resources to the most popular franchise?:

Despite SNK’s popularity, WIT Studios is a very small production company. For them, quantity is everything because it’s the only way their company can continue to make money. Even if they dropped everything and directed their attention to SNK, they wouldn’t get enough funds to keep functioning just from one anime alone.

There’s not enough money going around, and as said before, not enough qualified workers. It takes years to train these workers, sadly. And with the schools closing down, finding people who are willing to work for the horribly low salary is nearly impossible. There’s more and more demand for production and the small company can’t keep up. So even with their short amount of animators, having a large number of projects is absolutely necessary. 

What’s the best thing we can do to support WIT Studios and its production of the story about the giant, naked, man-eating men apocalypse (SNK)?:

Perhaps start here - with buying Blu-Rays. As @lenok993 said, this may be why they chose to release the Blu-Rays so early. And like Thomas said, it really doesn’t do that much. But really anything helps! Even if the portions don’t go directly to the animators, anything is absolutely better than nothing. 

Mm… I’m really interested in the anime crisis. Hopefully it’ll get resolved eventually. But you know, there’s also this nifty little page you can check out: Animator Support!

I know that us foreigners really don’t have many options to help. On the most part, all we can do is sit and watch the drama in the studios unfold. But it’s always good to be aware of what’s going on behind the scenes, even if we can’t do anything about it. I’m pissed that we aren’t getting an Uprising arc since it’s my favorite one - and I’m still going to rant about it. But no matter how much we rant, it won’t change the fact that they don’t have the resources to produce a two cour season.

TL;DR: Despite SNK being the huge franchise that it is, and the misconception that it’s the money-maker we believe it to be, there’s not enough experienced workers to keep up with the production. Animators aren’t satisfied with their paychecks and animation schools are shutting down. This is already bad enough for bigger production companies, but even worse for smaller companies, such as WIT Studios.


Small, dumb rambles:

I will admit though… I’m really annoyed that SNK, such a huge anime, is getting handled by such a small production company. I feel like there’s a lot of trust being put on a thin line between the production company and the fandom. But even so, the situation is the way it is and it’s not going to change. So we’ll just have to accept it for what it is.

Anyway, being the small company that they are, they’re really trying. They may have had four years but they needed to work on other projects so they could even be around for the production of season 2. Plus, they were still lowkey working on SNK despite having other projects. And even if we’re only getting twelve episodes… I know I’m going to be murdered for saying this… but at least we’re getting any episodes at all. Quality over quantity. That’s the basic rule.

I’m glad they aren’t interested in ruining the magic of SNK for the sake of quicker production. I’m really in love with their dedication and decisions towards each episode Like that rewind in the first episode, oh my god, I don’t know why but that was so orgasmic to my vision. I’ll take the twelve episodes over getting shitty half-assed episodes any day.

Scraping an update together is a bit tough right now, since I’m mainly dealing with plotty and behind-the-scenes sort of stuff, but look! I made a a revamp to the “health” bar from the demo so that it looks a little more polished, hopefully, and also sits at least a little bit further out of the way. Also little balloon animation for when you lose (Or gain) points.

I also went and got a multiple parallax script running and man, I like it waaay better:

This script makes my dinner and does my taxes and tucks my children into bed at night. I love it. I love you, multiple parallax. Where have you been all my game-making life.

Sorry for the shitty gif quality but my computer’s not wanting to cooperate, so it’s a bit stuttery. Anyhow! I’m also finished with (most) of the revisions to the first part of chapter 2, so there’s some progress. I’ll try to keep everyone updated.

The Problem With the “If it’s gay, it’s good.” Mentality.

Hello, various fandoms that will be seeing this.

While I focus on some specific fandoms and shows in this essay, rant, overanalysis, what have you, I believe that the concept is pretty far-reaching and overarching across the majority of the shows that this website freaks the fuck out over.

Gonna go out right here and establish that I’m panro-ace and male, so don’t worry, a “straightie” isn’t preaching to you about what LGBTQ+ representation should look like in media. (that is to say, though, that contrary to popular belief on here, it is possible for cishets to have the right idea about topics such as this.)

Anyway, on to what I want to talk about.

In recent months and going back to when I first joined Tumblr two and a half years ago, I’ve started noticing this disturbing trend with the types of media that we as fans consume. Particularly, those of us who are in the LBGTQ+ community.

Ask anyone who’s spent more than three seconds on here, and they can give you a seemingly endless list of shows that either fucked up representation (Steins;Gate, Rukako/Lukako specifically), baited representation, i.e. “queerbaiting” (Hetalia, Love Live Sunshine/School Idol Project), or killed off one of the two queer partners for “shock value” or some other bullshit reason (e.g. Clexa).

But then, here in late 2016, the year of Hell, we are suddenly graced with Yuri on Ice, the first mainstream anime in recent memory to have a canon gay couple in a non-BL or Yaoi setting. In other words, the first show to treat a homo pairing like a hetero one.

Naturally, we’ve exploded as a fanbase. People obsess over each screenshot pulled from the show, there’s a shipping web more complex than most ones created by spiders, and each Wednesday there’s so much YOI on my dash that sometimes I wonder how anything else is reblogged on those days. Hell, I even changed my URL the day of the reveal to celebrate. It’s a fantastic thing and that shouldn’t be overlooked.

However, it’s not all good. And I think that the popularity Yuri on Ice and shows like it, such as the aforementioned Love Live School Idol Project, Hetalia, even Hibike! Euphonium depending on who you ask (though if you ask me, I believe there’s been enough confirmation from the staff to say they’re canon, but another post for another time there) creates and sets a bad standard for representation in media as a whole.

It’s the standard of “If it’s gay, it’s good.”

We, as fandoms, have an extremely bad habit of completely ignoring a show’s flaws, shortcomings, or queerbaitings if we either 1) see our pairing become canon (Yuri on Ice) or if the show is bait-y enough that all fans have to do is connect a couple dots (NozoEli, ChikaRiko, in Love Live).

Yuri on Ice is being hailed as this masterpiece that can do no wrong, has perfect characters, a deep story, and gorgeous animation.

I’m here to say that that’s simply not the case, that we’ve been blinded by the greatness that is Viktuuri, and how dangerous that is for LGBTQ+ representation going forward.

Firstly, the characters, while not bad, are relatively one-dimensional, save for perhaps Yuuri and Viktor. There’s not much complexity to Yurio’s “tough on the outside, soft on the inside” facade, and the majority of the other side characters in the show could be described pretty vaguely. 

“The fanboy one from Thiland.”

“The hot guy people ship with Yurio”

“The one that looks like Pew-Die-Pie”

As for the animation, while I admire Mappa as a studio, and I think Zankyou no Terror/Terror in Resonance is one of the best animated shows ever, I think they really dropped the ball on Yuri on Ice.

I would ask that the only explanation that this point requires is for you all to take off your manservice glasses and look at how dopey most of the skating scenes are. If you want an ice skating scene, look up the one in Death Parade, a show by Studio Madhouse a year or two ago. (Honestly, please just go watch Death Parade, it’s such an underappriciated show as a whole)

The thing that really irks me, though, is when people say the story is this complex interweaving of perspectives and plot threads, when it’s really just a bunch of flashbacks through the lens of not one, but two whole characters, those being Yuuri and Viktor.

Think Yuri on Ice is a masterpiece for having two perspectives with flashbacks? Compare it to a show such as Durarara or Baccano. I’ve watched all the way through the former while I’m still working on the latter, so I’ll use it as an example.

Off the top of my head, I can think of twelve different perspectives that the show explores and fleshes out in twelve episodes (one more than YOI)

Namely, the perspectives of:

Shizuo Heiwajima, Izaya Orihara, Masaomi Kida, Mikado Ryuugamine, Simon the sushi dude, Celty Sturlenson, Shinra Kishitani, Anri Sonohara, Walker, Erica, Kyohei, and a fucking sentient sword.

All of those characters have well-established backstories, characters, and motivations after twelve episodes.

How many characters does Yuri on Ice flesh out to that extent? Yuri, Viktor, and Yurio.

I know what you’re thinking…at least I think I do- So, ok. Yuri on Ice isn’t as deep as the fandom says it is. Big whoop. Even still, the representation it so boldly carries with that makes up for all the shortcomings, right?

No. Representation does. not. equate. to quality.

And here’s why.

Since anime is my forte, I’ll be focusing on that, but again, this is applicable to all kinds of media Eastern, Western, or otherwise.

The single greatest motivating factor for any animation studio (or any company in general) to produce a show is how much money they can make on it. So naturally, they start looking for easily exploitable means to that end. One such means is the inability of fandoms such as ours to distinguish representation or baiting from quality.

Yuri on Ice is a now the standard for representation, but let’s be honest with ourselves, it’s kind of a shitty standard, at least compared to what it could be.

Like, think about it for a second– yeah, YOI is a fantastically entertaining show, but just imagine if you had a show that was, say, on the level of quality as some of the most critically acclaimed shows of all time with that sort of representation.

That’s a great thought, isn’t it?

Well until we as fandoms start to distinguish quality from representation, there will be very little opportunity, if any at all, for the quality of the media in which said representation takes place to grow.

I am sick and tired of scrolling through my dash to see text post, after fanfic, after comic, after whatever reducing either a canonically LGBTQ+ character or a character that’s commonly baited/implied/headcannoned as such be reduced to that and one other charactaristic.

Nozomi is gay and likes parfaits.

Eli is gay and is Russian.

Yuri is gay and likes Katsudon.

Rukako is trans and shy.

Umi is gay and has a stick up her ass.

Shizuo’s gay and strong.

You see where I’m going with this?

Like, I’m perfectly ok with joking around about these characters. That’s not what I’m talking about.

But when the prevailing works of media in a fandom are these stupid crack fics or fetishy artwork that’s justified under the context of the artist “exploring their sexuality” that do nothing to develop characters in meaningful ways, that’s a problem.

It’s a problem because the creators of mainstream media look at that and think that that’s all we as a community want– one-dimensional characters in easy-to-write shows that take no effort to create yet sell oodles of merchandise due to the fact that “it has gays in it.”

And you know what? It works. Because we as LGBTQ+ people are so starved of representation in the first place, we latch on to any representaton (or teasing thereof) that we see, even if it’s really shitty.

No. If something’s gay and cliche, than it’s still cliche and therefore as bad as something that’s straight and cliche. And until we get past the mentality that that’s not the case, we won’t see any drastic improvement in either the quality and/or quantity of good representation in media.

This post was created for the sole purpose of creating discussion and raising awareness to what I believe is a big issue. Please reply, reblog, send me an ask, whatever with your own opinion of things. I’d love to hear it.

See ya!

nickthemidori  asked:

What are your opinions on the Adventure games from a critical standpoint? It's obvious that you like going through them and finding unused content but do you genuinely enjoy playing through them?

I could go all day about positive aspects of the games and why I find them good so I’m just going to address what I see as the negatives of the games.

The problems I see with them are:

  • Camera
  • Collision
  • Game Design
  • Localisation
  • Development Time
  • Port Quality

I’m going to explain each of these, because I see a lot of people complaining about the games these days and then not knowing what they’re supposed to be talking about when asked to go into more detail.

Keep reading

long ass french post that turns into a post about how amazing buck vu is

I was helping @societyneedstocrumble find a scene for a theory post when I stumbled on a scene that made me realize something. The persona French presents to his peers is completely different from that which he presents to adults. 

To adults, French…

  • smiles
  • is polite AF
  • says their names or sir, ma’am, etc.
  • is always optimistic 
  • acts like he has confidence in his ability to accomplish goals

To peers, French…

  • frowns
  • is irritable, serious
  • puts up walls; only allows himself to be vulnerable around buck
  • is always pessimistic
  • believes he can’t
  • folds

Persona Example:

Episode 5 “Paradise”, the group is eating lunch in the cafeteria. They’re talking about the possibility of Homer being alive. Buck says he must be alive. Steve says maybe he’s alive but disabled. French says “Or, maybe this is it.” Maybe OA’s story ends there.

Immediately after that, he meets Gilchrest on the steps and smiles. The principal asks what happened to his head. He politely says it was lacrosse, and then, “See you at the dinner!”

There’s a purpose to this, obviously. The persona he presents to adults is cheery and capable, because that’s what he wishes he was. He’s desperately trying not only to hide the shameful home life he has, but to rise above it as well. He has to “fake it til he makes it”, like what BBA said about smiling until you’re happy. Adults can help him make it to a better place, so he shows them a young man worthy of helping.

In his mind, his peers can’t offer him anything. Opportunities, understanding, emotional support, whatever. French doesn’t need them. He does everything on his own. Besides, if he lets people get too close they might see that his jaw is always tight because he’s stifling a constant scream, embarrassed and angry about his mother, resentful at her and his father for being completely unavailable. Resentful at himself for not being able to actually fix anything.

He’s probably anxious AF, too, constantly trying to control everything because if it slips out of his grip the whole facade will fall apart and he’ll be revealed for what he is: a terrified kid who doesn’t believe he’s worth love. Not to mention anyone who’s that busy, staying up late to hear the stories of a trauma victim, and blowing coke throughout the day is going to be hella cranky.

French’s “peer” persona is a closer, more accurate representation of what he’s really like. But the true self, his “invisible self” that is vulnerable, soft, scared, and that desires more than anything to be someone good, is only shown to Buck. 

I’ve already discussed how Buck is French’s only true friend here. Given this new insight, it’s safe to say that the reason French lets Buck in and considers him a friend isn’t just because he sees him as an equal: French admires Buck and wants what he has. 

There’s never a moment when Buck gives up. Buck’s invisible self is hopeful and moral and compassionate, and is on full display constantly.

  • When French says he’s not going back to the house, Buck helps him feel comfortable/safe enough to. Buck gives up his HRT connect for French 
  • He asks questions about how to do the movements and gets them right
  • At the dinner, he can tell French is feeling scared/anxious/whatever, and he smiles reassuringly from on stage
  • He asks OA before touching her
  • When he hears his parents arguing about him/ dad misgendering him, he goes back inside and validates himself, does the movements in front of the mirror
  • Cries all the time about other people’s pain (OA’s NDE and death at the end, practically cries when he sees French put his mom to bed, etc.)
  • Takes the one book from the stack that would support OA’s truth

French only wishes he could be that selfless! He wishes he could possess and portray those qualities, that self, to the world. He pretends to with adults because they can’t read through him. His peers can see how full of shit he is and French resents it, adds to the list of reasons why he doesn’t need them. 

He and Steve can never be friends because Steve will always call him on his bullshit. Before the fight in episode 3, Steve says, “You think you’re so fuckin smart, don’t you?… Hey, don’t forget I know you. And I know the shitty, smelly house you crawled out of this morning.” It doesn’t take much more than that– someone reminding French that people know how imperfect his life really is– to provoke him.

The fear of people knowing what he’s really like, how incapable and tired and scared he is, the harder he tries to control the image he presents. This, of course, stresses him out more and makes it impossible to show his true self.

  • The fights with Steve
  • He doubts that he can do the movements right
  • He is incapable of being the first to stand up for the movements; the one most visibly horrified of what’s happening
  • Finds the books and immediately believes OA lied
  • Instead of searching further, goes to the others and tells them it was a lie

Of course French wants to believe that he’s a good guy, and that he won’t change. But he can’t believe it. He’s seen his father disappear, seen his mother give up. Chances are French believes that he will change for the worse, too, and he’s terrified of that. 

He lets Buck see his fear because he knows Buck will support him, tell him there’s hope. Steve won’t do that. Jesse wouldn’t be able to. BBA, OA, other adults would tell French he’s already good, that all those invisible self desires to be a good, selfless guy are already true. The difference is that when Buck reassures him of who he is, French can believe him, because he’s made it clear he can be trusted. 

Buck is a really good friend.

An in depth analysis of Lyra.

This wasn’t intended to be a Lyra defence, but has probably kinda turned into one? Oops… 

LYRA IS AN ALIEN.

The writers have done an amazing job of defining some of her characteristics and differences which make her so, and to hold her to human standards at this point in her character development, is not only unfair, it kinda misses the point.

Lyra’s race, her innate nature, has been displayed to us as somewhat primal in comparison to humans: The way she moves like a cat, makes feral screeching sounds, lashes her teeth, and even growls, show her Alien nature as one that is sort of animalistic. I don’t at all mean this in a degrading lower than humans way, not at all, all I mean is, she’s not a human with blue skin or human with supernatural abilities (easy to forget Kara is an alien, because she’s portrayed as basically a perfect and beautiful human with superpowers.)

Lyra makes weird noises and bites and says things like ‘humans all smell different’ deeply inhaling the scent of Winn, and biting down on his lip in this carnal kind of fashion. All of this, has for me, been building up a picture of what her Alien race probably looks like. Intense, fiery, passionate, ferocious… one that probably is built on muscle and dominance, and deals with things through fights rather than politics or civilised chats. Its based in raw power and instinct and agility, rather than philosophy or religion or whatever else blah blah. Their race is a bit more primal. And probably maybe even a little archaic.

Although Lyra looks humanoid, for the most part anyway, she is very VERY different, and the writers have managed to show us a huge amount about Lyra in the very little time they’ve had to do it. It’s disappointing to see so many are quick to write her off as a moody bitch, instead of consider that her uncontrolled emotions, and lashing out like a cobra, have more to do with her alien nature than they do with character flaws.

Im not saying her ‘outbursts’ or treatment of Winn etc etc is okay (by human standards, it pretty inappropriate and would probably fit the ‘crazy bitch of a girlfriend’ stereotype quite well.) But the writers are very intentional, intelligent people, and it’s kinda disappointing to see people write off a character so soon, with little effort to understand her. The lack of critical thinking or contemplation before people jump straight on the ‘ew Lyra is an abusive girlfriend’ bandwagon kinda got me like ??!!!?? (as you can tell from this extremely long essay.) But could you maybe consider… Perhaps the writers are pointing out the differences between humans and Lyra’s Alien species? And defining it as something? Building up an actual picture of those differences, rather than just some vague ‘she’s an alien cause her face looks kinda different.’ They’ve actually had a go at giving her traits, and show that she’s from an entirely different planet with different values, culture, social cues and is a little wild. 

If you were to imagine a relationship between say, a Vulcan and a human (if you don’t know Spock, get the heck away from me lol. And Spock is only HALF Vulcan, he’s actually also half human…. anyway). You could say things like ‘they are cold, distant, insensitive, don’t show enough affection, are terrible people.’ etc. Or you could educate yourself on Vulcans and realise that their Alien nature is one based entirely around the suppression of emotions in preference of logic. They aren’t flawed or shitty people, they are ALIENS. Anyway that might not even be a good parallel, but its the first alien race that popped into my brain that looks different to humans. Aliens have different innate natures and wiring.

BACK TO LYRA. I’m not writing her off just yet, because I can see that she’s different. And some of the things she does, she doesn’t KNOW are wrong, because she’s not human, and being held to human standards at this point is so unfair. She hasn’t even been on Earth very long, impressing James with how well she spoke English (and spoke ‘Winn’ understanding nerdy references). She’s still integrating into society, and has a lot to learn. And if you can recognise a redemption arc from a selfish frat boy prince to a hero, is it so hard to accept an arc that could possibly, potentially, also be about growth and learning and character development? Just in a different sense? Perhaps a ‘tame the beast’ kind of story that lets us see her calm down a little and learn to control her emotions, with a little drama along the way as she adapts and learns what’s appropriate for humans and what’s over the top? SHE DOESN’T KNOW YET. They basically did it this episode with her screw up with guardian and then giving her another chance. next time she will do better. thats how you learn from your mistakes.

We’ve already seen she is bold, brave, enthusiastic and keen to learn, and even has displayed some natural leadership qualities (Forced Deportation Spaceship scene, when she goes around trying to get everyone out, and then when it starts taking off, she says to everyone ‘HOLD ONTO SOMETHING’. She could have just protected herself, but her natural tendencies towards power and dominance, actually translated here into leadership skills. Anyway, I could go on, but its 2.38am my time, and I should really shut the hell up and go to sleep.

Like yeah, protect my beautiful Winn, gosh, do that. He’s adorable. But look at what the writers are communicating to you. Perhaps now days people are so busy watching tv from a place of ‘does this fit my values, likes, preferences and ideals’ rather than ‘what is the author intending to communicate?’ that they are missing half the story.

Let it take you on a journey. Theres plenty to enjoy. And I’m loving it ALL. But I also put a fair bit of effort into trying to understand things as a whole, approaching different ideas, trying out new perspectives, contemplating things. I dunno if this sounds kinda bitchy or even makes sense, (SORRY) its so late in the night I can barely tell what I’m even writing. But anyway. Thats my little rant for the day. So quick to judge so quick to dismiss. meh. anyway. im crashing out. 

LOVE YOU. TAKE CARE. LIFE IS WONDERFUL. SLEEP TIME.  

OOOOooo. What if they go for a ‘leopard doesn’t change its spots’ arc instead? Could totally happen and be used as a contrast, rather than paralell, since we are getting lots of tension with the ‘people don’t change, yes they do, no they don’t’ thing. Theyve already played up the everyone can be heroes idea quite a bit with the current cast, and perhaps they opt for a stubborn refusal to overcome ones nature? Which would introduce a painful realisation for Winn and the team for what point theyve had enough (and at which point the audience throws the towel in with the character). It would be a great way to highlight our resistence to change and growth, and pose a bit of a sly question to the audiece of what kind of person they want to be. One that stubbornly refuses to change? (Rhea is probs too much of an extreme example for most to relate to because shes evil… But someone with potential… obvious potential… who is kinda normalish who you can see yourself liking… and they just dont change?) JUICY. JUICYYYYYY. okay. I need to stop considering this. Im getting out of control 😂. What will happen…. oooohhh.
Thank you “Kokuhaku”!

After 17 years of loving this fandom, thanks to that disastrous movie such as “Kokuhaku” was, I can finally prove even more that all the nasty things that were said over the years about Daisuke Motomiya are completely unfounded!

Originally posted by inuoka

Daisuke’s always been my favourite character in all Digimon Adventure. Since the very beginning he was wrongly and unreasonably accused of being TOO SIMPLE, STUPID, SELFISH, A SHITTY FRIEND, a BAD COPY of Taichi, a BAD LEADER and more, but they are honestly too many to even remember all of them.

And the only reason was to put under the spotlight characters that were there before him.  Characters that, as we saw in “Kokuhaku,” do not deserve it.

And it’s very sad because with this attitude lots of people missed the opportunity to know a good and an ispiring character.

Originally posted by wolfmons

I’ve already talked about how disappointing the third Chapter was in a previous post (http://princesscassiebaratheon.tumblr.com/post/150885773342/my-reactions-watching-digimon-tri-kokuhaku) and we can all agree on at least one thing:

THE 01 KIDS ACTED LIKE SHITTY FRIENDS.

This is one of the many accusations that Daisuke recives. And there is never been a BIGGER LIE. It’s always been there on the screen but it seems like people didn’t want to see it. Daisuke is extreamly selfless and he dimostrates that in various occasion during the second series. A few examples:

  • Episode 1 “The One Who Inherits Courage”: Since the very beginning he was determinate to help his friends (in this case Taichi and Hikari) despite his fears and confusion for being in a compleately uknown world/situation.
  • Episode 8 “The Digimon Kaiser’s Loneliness”: In this episode Daisuke was willing to sacrifice himself to save his friends. None of all the Digidestined, of both series, has ever done something this selfless. The difference is that in that moment he didn’t think about his own well being, not even for a second. He was ready to die without even try to defend himself. He just wanted to save his friends, no matter the cost. It’s funny how this scene is always forgotten (I’m talking about the fandom here), when it is one of the most beautiful and selfless act I’ve ever seen on the entire series.
  • Episode 13 “Dagomon’s Call”: In this Hikari-centered episode, we see Daisuke doing something that was missing in “Kokuahku”. Even when he didn’t know where Hikari was, he was determiated to find her and bring her back. He didn’t get stopped by his friends words and he was desperate when he couldn’t get throught the digital gate. On the contrary all Hikari and Takeru needed to stop searching for them was a closed door and an unanswered phonecall.

Originally posted by becauseofjustema

Moreover in this episode Daisuke was also very respectful towards Hikari and Takeru’s friendship, because even though he was concerned about Hikari, he knew that the right thing to do was let her best friend go and talk to her. And he was even very respectful towards Takeru, because even if he wanted to know if Hikari was alright he saw him troubled and so he didn’t ask anything.    

  • Episode 49 “The Last Armor Evolution”: Daisuke saved the day… again! He didn’t give up even when his friends were under BelialVamdemon’s illusions. Even if he was alone, Daisuke was still able to give V-mon the power to let him evolve in all his forms to save the others and then he helped them to gain their strenght and do the same. 
  • Movie “Digimon Hurricane Touchdown!”: In this movie Taichi and his group were kidnapped by Chocomon and when Daisuke (along Miyako and Iori) finds out he flew all that way to America to find a way to save them. While in Chapter three even cross the street to go and talk to him and see if he was alright seemed a very complicated journey…. That’s what friends are for! 

It’s important to notice that everything Daisuke does for them is without expecting anything in return, not even a “thank you”, it is an act of pure love. And what’s even better about him is that no matter the resultes he obtains with his actions, he never consideres himself the “hero” but for Daisuke it is always the team who wins.

And so I think that the adjective “selfish” CAN’T really be applied to him.


Originally posted by 90-kidz

One of my favourite things about Digimon Adventure is Daisuke and Ken’s Friendship. Through this relationship we can see clearly what an amazing person and friend Daisuke really is.

He was able to understand Ken’s feelings and I was always amazed by the fact that he never actually hated him, even after all he had done. In fact Daisuke wanted him to join them, because he understood how hard Ken was tring to prove himself as a good person.

Daisuke had forgiven Ken since he heard that voice from the Golden Digimental. (Episode 20/21 and he talks about it in episode 26)

You can’t actually think that someone like that is stupid or simple minded.

Daisuke always believed in Ken and he wanted to make him feel welcomed and accepted among the Digidestined and he always did his best to do so.

At the end of season 2 it seems like Ken was finally accepted by all of them. And then it comes “Ketsui”, where not only they all immediately believed that the Mistery Man was him, but also they acted like they weren’t surprised at all about it. And moreover they even cheered when they “defeated” Imperialdramon!

In “Kokuhaku” everyone was all cuddly with Meiko, when she didn’t act like a reliable friend when they needed it. But they judged Ken till the end, even though he always tried to show them that he was a good and trustworthy friend.

Originally posted by foreveraloneandlivingvicariously

So who deserves the TITLE of SHITTY FRIEND?

*******

Another funny accusation is that Daisuke just want to steal Taichi’s place as the Digidestined leader.

Since the very first episode of season 2 it’s clear that Daisuke deeply admires Taichi. Taichi is Daisuke’s role model.

But that doesn’t mean that Daisuke is Taichi’s bad copy or just want to take his place.

The two google heads are similar, but not so much as it might appear. In fact at the beginnig of season 1 Taichi was very stubborn, impulsive and a bit bossy. During the season Taichi grew up a lot and become the leader they all expected him to be: very caring, dedicated, brave and determinate.

Daisuke already possesed from the beginning some qualities that Taichi learned during his journey. Taichi is very aware of this fact and that’s why HE GAVE DAISUKE HIS GOOGLES. Of course Daisuke is not perfect, indeed at the beginning he was a bit immature and goofy, but during the series he learned to contol himself

Originally posted by wolfmons

And moreover Daisuke always respects Taichi’s decisions and leadership. This is more than evident for example in Episode 10 “The Enemy is MetalGreymon”. In this episode Agumon is under the Kaiser’s control and even if the others were ready to attack, the moment Taichi told them not to attack MetalGreymon, Daisuke was the only one who listened to him and said: “Taichi-sempai says to wait, so we wait”

Taichi I really think you should be careful, Daisuke really wants to put you down.

Originally posted by allreactions

I never understand how people can affirm that Taichi should have chosen Takeru as the next leader, just because Takeru was there first (and this applies even to Hikari).

But being there first doesn’t guarantee a good leadership.

Before I continue, I want to say that this Anime is so beautiful because everyone has a role in the group and there is nothing wrong if your favourite character is not one of the leaders. My favourite character in season 1 is Koushiro, but I would never think that he would be a better leader than Taichi just because he is the smartest one of them all. Beacuse there are other characteristics of his that prevent him to be a good leader.

Daisuke is a better leader then both Hikari and Takeru could have been.

  • Episode 19 “The Syntethic Beast, Chimeramon”: in this episode Takeru purposely left Daisuke behind, without asking for his opinion,  to “take care of the girls” that of course are too girly to take care of themselves, even though in the previous episode he left them alone with even an unconcious Hawkmon.

Originally posted by yourreactiongifs

Daisuke did the same, you say? Yes!

But he always act like that, and this is because he believes in the girls capabilities. And this is not a default on his part (indeed he always recommend to them to be careful) but it’s an act of trust.

Even if he was left behind Daisuke didn’t get angry, but he worked a way to reach the others, since V-mon can’t swim or fly.

And at the end of the episode after they were defeated for the first time by Chimeramon, while Takeru was punching Ken, Daisuke helped to take to safety all digimons rescued by Iori and cheard them up by encourage his friends.  

  • Episode 20 “Suprime Evolution, Golden Magnamon”: In this episode the kids finally break in the Kaiser’s fortress. They got attacked by Chimeramon and the situation was tough for them. Takeru and then Hikari, followed by Miyako and Iori, wanted to escape and wait for another chance. Daisuke didn’t agree with them because they were so close to defeat the Kaiser and he knew that they would never have again an opportunity like that. He didn’t impose his decision on his friends, but he had to keep going, even if he was alone, because he wanted to save the Digimons who were suffering. At his words all his friends felt confident again and choose to follow him and Hikari said “He really is taking the charge”…. and she is right!  

*********

Watching “Ketsui” I really appreacieted Hikari’s speech to Jou. It reminded me a lot about the thing Daisuke cared the most and worked hard to achieve in season 2: Partnership. But he believes that this bond exist not only between a Digidestined and his own digimon, but even between all of them. THEY ALL BELONG TOGETHER BECAUSE THEY ARE DIGIDESTINED.

Then “Kokuhaku” arrives and not only the group has split up for an unknow reason, but the 01 kids didn’t have even the tiniest clue of where Daisuke’s party was, if they were ok, or even alive!

Originally posted by procrastinationismyfriend

How can they even have the courage to talk about partnership, unbreakable bonds, special connection to one another?

You say these things and this is the way you act?! You waited that the Mistery Man appeared to try and contact them???!!

******

And at last I wanted to spend a couple of words about another accusation moved to Daisuke.

Some say that his character is TOO SIMPLE.

Apparently he is too simple because he is always happy.

Daisuke during the season makes a lot of deep speeches. Like in episode 20 (as I said before), or episode 26 (when he convinced Ken not kill himself), or episode 45 (when his words not only helped Ken but even his other friends to defeat darkness) and more… I have just mentioned my favourites, but he frequently does speeches like these.

But there is one particulary speech in which he explains why he is always happy:

Episode 49 “The Last Armour Evolution”: Daisuke explains to BelialVamdemon why he couldn’t trick him with his illusion. Daisuke is a happy boy because he is greatful for everything he has even the littlest things and the ones that are easly taken for granted. And this is an extreamly difficult thing to do. It’s easier to give more attention to you worries or fears. What it’s difficult is to cling yourself to the little things that give light to your life and use them to chase away the darkness.

This is exactly what Daisuke does, that’s why he is ALWAYS HAPPY, why he CAN INSPIRE HIS FRIENDS, why HE ALWAYS WINS and why THEY CALL HIM THE MIRACLE BOY!

A Thursday Interview: Conversation with Boff Konkerz!

Can you talk a bit about the differences you observe in tattoo culture when it comes to handpoke versus machine work?

I’ve found that handworkers are more relaxed. Generaly they haven’t come through the apprentice system and treat the practice as more of a folk art than business or career. Also there is more humility in handwork, which I put down to the fact that machine-free tattooers are not seen as “real” tattooists by most other tattooers.

How do you feel about the machismo of shop culture?

It really depends on the shop. There are so many tattoo studios now, and while they’re not all radically different there are different types. Here are my catagories of shops, just for fun…

1. Stretched ear shops. More ethnically and spiritually inclined shops. More likely to offer body modifications, stock and sell intresting jewelry, usually more gay and female friendly, swastika reclaiming, more accepting of DIY tattooing. Styles will be ornamental, blackwork, some old school, realism and illustrative. Least macho type of shop. More likely to host a hand poker.

2. Traditional shops. Flash on walls, everyone works in one big room, motorbikes, rock and roll, fiercely against DIY tattooing, pro apprentice system. Think they and their friends are the only ones doing tattooing “right”. Styles will be old school, realism, some illustrative. Fairly macho. May host a hand poker, but not usually.

3. Gangsta shops. Hip-hop, macho, money, bullshit, gold chains, pit bulls, guns. Will have several apprentices who don’t know what they’re suppossed to do. Think they and their friends are the only ones doing tattooing “right”, to prove this they will frequently mention the amount of “benjamins” they are “ stacking” to the “ceiling”. Styles will be lettering, chicano, juggalo. Most macho type of shop. Will not host a hand poker. Hand pokers will not want to be here.

4. Hybrid shops. Type of shop where the individual tattooers may each subscribe to one of the above stereotypes, without there being a typical shop ethos. Styles will of course be varied. Daily arguments about music are standard. Levels of machismo will vary. May or may not host a handworker, depending on attitude of the owner.

Variables- Also to be taken into consideration are the amount and type of drugs consumed by the crew, gender and sexuality distribution, fame of shop/tattoosts and area the shop is in.

Once one has worked out what type of shop one is looking at and what the variables are it is possible to get some idea of the level of machismo. From what I have learnt in the field it’s fairly safe to say that the more macho a shop is, the least likely they are to be accepting of machine-free tattooers. Machines are manly. They are loud and fast and brutal and unsympathetic.

Is that same element of machismo and elitism as present in UK tattoo culture as it is in America?

I am doing my best to resist the idea that there is such a thing as “tattoo culture”. The word culture is thrown around out of context all the time. Tattooing is not a culture. It is a practice that is present in many cultures. However, if you are talking about the tattoo scene in the UK I’d say this. I inhabit a very small corner of the scene ,and it’s pretty sweet. The rest of them can do what they want. I really don’t care what the mainstream is up to, as long as me and my client are happy, and the studio i’m in is cool. There are many talented, compassionate people in tattooing. If you don’t find them you’re not looking hard enough and deserve all you get.

The professional handpoking community is a rather small one- how has the culture of handpoking and the community changed over the years? Has the qiality and style of the work shifted?

The proffessional community is still super small. I’d love to know what the percentage of tattooers working by hand is. It’s probably 0.001% or something. What we’ve seen is a massive increase in the amount of amatuers and a small increase in the number of proffessionals. I support DIY activity, whether in tattooing, music or anything else. But there is a difference in what you have to do when you ask for money. We get more respect now, those of us who can stand up to machine workers in regards to quallity and proffessionalism. We are welcome at conventions and can easily get featured in magazines, but there are still too few handworkers working at that level.

You’ve been poking ten years, what are the most drastic changes that you’ve seen over the course of your poking adventures?

I guess the wider understanding and awareness of hand poke, both good and bad. When I got my first handpoked piece by Xed Lehead 11 years ago nobody had really heard of it at all. Of course there were prison tattoos and whatnot, but to my knowledge there was only one full time handpoker in the UK. That was tattoo Pier at temple tattoo in Brighton. You have to remember this was before social media. Pier would work conventions and have the occasional piece in a magazine, but he was not well known. He was also brilliant, by the way.  I heard he quit to keep bees in south africa, dunno if that’s true, but i choose to believe it. So now we have people aware of low rent stick and poke via a bunch of articles in the fashion press and a load of instagram/tumblr blogs, and we also have people aware of the top end stuff via things like Charles Bodays book “Handpoke Tattoo: 23 Artists’ Words and Ink”, as well as social media.

How do you feel about ‘stick and poke’ tattooing?

First we have to agree on what we mean by “stick and poke”. All hand poke could be called stick and poke. You use a stick and you poke in the ink. I’m guessing you mean DIY, home done tattoos. I think it’s brilliant!Just fucking do it, fuck your own shit up for free!

Do you feel that the recent increase in the popularity of stick and poke style tattooing has had an impact on handpoking as a craft? What does this sudden surge in interest mean for professional handpokers?

It’s been a mixed blessing, i suppose. If someone’s first encounter with machine-free tattooing is some shitty home done effort then that may well close their minds to the more refined work that’s out there. On the other hand people are probably more aware of how good it can be also.

What, in your opinion, are some of the biggest misconceptions that people might have about handpoke method?

That it’s inferior in quality and hurts more.

Do you find that the negative stigmas associated with stick and poke- that its unsanitary, unskilled, etc, have an adverse affect on what you do as a professional?

No, I’m busy enough. If anyone thinks that handwork is unsanitary or unskilled I’m happy not to tattoo them. It’s not my job to educate or overturn prejudice. If they have done their research they’ll know the facts.

In addition to mentoring and supporting other handworkers, you also have an apprentice, Habba Nero, whose work is phenomenal! Can you talk a bit about how you came to take Habba on as an apprentice and what prompted you to take an apprentice when you did?

She’s not my apprentice, if i say she is it’s tongue in cheek! I don’t believe apprenticeships have any role in hand poking. It’s a very simple technique and takes no time to learn. Once you’ve learnt the basics how you progress is up to you. Handwork is like riding a bike, you don’t have lessons or take a test, a member of your family just shows you how it’s done. Machine work is like driving a car, it’s a good idea to be taught by a professional and not be allowed on the road before you know what you’re doing.

How has handpoking served to enrich your life outside the context of tattooing?

I’ve traveled and met lots of interesting folk doing this. I don’t have a boss. I do what I want and go where i wish.

As a world traveler, can you speak a bit about your time traveling and tattooing and how that has shaped your work?

Travelling has made my work suffer. On the road you don’t get much opportunity to do the big work I like to do. The back pieces and sleeves in my portfolio date from before I went on the road. This is one of the reasons I’m settling in Iceland at the end of this summer. Travelling has been very good for me personally, but bad for my work and finances. After settling down I’ll still travel, but much less. However I am aware that after a couple of years living and working in one place I might get the urge to go on the road again.

I’m seeing a new school of handpokers on instagram and tumblr honing their skills right before my very eyes! What can this new generation of handworkers learn from our tattoo elders, and how can we preserve knowledge that is passed on from more experienced tattooists?

That´s not  for me to say. It’s up to the next generation of handworkers to decide what they can learn from those who’ve gone before. I don’t actually care what other handworkers, or tattooists in general, do. I literally do not care whether handwork is around in a few years, if it’s gotten more popular, better or worse, I’ve played my part, and will continue to do so.

Thanks, Boff!

A Rough Personal Guide to Alt Shows and Scene Building in Standup Comedy

* picture courtesy of Robert Mungle and the general chaos that can be the Houston Comedy Scene. 

First and foremost – feel free to dismiss everything you read here. I only wrote this as a reminder for myself. Comedy is wide open and an industry built on the illusion that what people do and how far they’ve gone is actually a thing.

Also – whenever something becomes obvious or overplayed – like jokes themselves – audiences become immune to it.

The whole industry is in constant change and nothing is forever. 

Rule 1:

Only promote things worth promoting.

It’s your word on the line and if you send people to shitty open mics, overpriced venues or blah events – they will never trust your recommendation again and also – think less of standup.

There’s a reason people will walk into a bar show – see the event and say “ugh – its comedy night, are you sure you wanna stay?” - it’s because terrible comics who only care about getting their name out are working in unison with terrible bar owners whose only goal is to con comics and people to go into their shit hole to buy drinks.

Comedy is the greatest thing ever. Laughter, jokes, it’s in almost every form of entertainment. However it’s also the most disrespected. (seriously The Martian wins a Golden Globe for best Comedy? Fuck you too Hollywood)

If you’re approach to doing standup is to ‘fake it, til you make it’ please just go ahead and kill yourself now. You are the salt poured on the earth that stops any real growth.

Rule 2:

Put comedy ahead of your ego.

If you put comedy ahead of yourself, refuse to allow the self satisfaction that always becomes complacency and avoid pandering to get cheap laughs because you need to feel like a winner – you will get better at it and your act in turn will propel you forward.

If you choose to believe in your greatness, act like you’re too good to talk and thank an audience post show, or treat comics as lesser people or as just avenues to get rides to your merch table event - well - you might get some local success, but eventually you’ll suffocate on your own inflated ego and succumb to the graveyard that is teaching defensive driving.

Allow yourself to suffer a lil bit ya fuck. Entitlement kills art.

Also – Keep this in mind – you deserve nothing, You are owed nothing. People worse and better than you will always get opportunities they don’t deserve. That’s fine. Nobody – no one – deserves anything so just do the work. Take satisfaction in making things better, improving yourself and don’t sweat what other people do on stage. That’s their business. Do that and and you’ll put yourself in way better position to succeed than trying to create substance out of hype. Let hype naturally form from actual substance. Do the work you lazy piece of shit.

Rule 3:

Venue and atmosphere is everything.

Before producing your own show make a checklist. What is the perfect set up for standup comedy? You’d be surprised how many people don’t even bother to deal with this. The venue is almost the single biggest difference between success and failure. An ok show in a subpar venue would’ve been an amazing show in the right venue.

Intimate room: Find something that can seat 50 people comfortably, 80 people packed to capacity, but if 15 people show up it still feels like a good worthwhile show. Room dynamics affects the quality of shows and future turnouts. It is everything. For instance - if you have 5 round top tables – DO NOT line up the back of the room with them because you think you need more single chairs up front. People instinctively don’t want to be anywhere near the comedy and prefer tables. Unfortunately, sitting far away makes it harder for audience and performer to connect, so put small tables up front as a way to encourage people to be close to the show. This will also insure that they have a great time while making your event feel more full. Trust me - when people in the audience see an empty front row - even if the show is packed - they still feel like it’s a blah event in the back of their head. I don’t know psychology, but I know this to be true.

During room set up try making it a point to sit in every chair. Can you comfortably see the stage?

Separate from the bar: This is hard to find, but if you can get it jump on it. You want a show room dedicated to comedy. It forces the audience to be people dedicated to the show and for those who are not – can leave and drink or fuck around outside the show at their leisure. Putting on bar shows suck because you are constantly having to deal with walk-ins who only came to hang with friends, play darts, etc. Plus nothing is worse than a margarita machine killing a punchline. This drastically kills shows and people’s ability to enjoy comedy.

Staging: sparse, tasteful, cheap. You can do all of these with some cleverly arranged dark king sized bed sheets and Christmas lights. A stage should give elevation, but not uncomfortable to view and a soft LED light positioned close up top can get the job done. You want dark, you want intimate. Watch out for comics who step out of the light complaining they can’t see the audience. Yeah – that’s the point. Hit your mark and learn to tell jokes that don’t require crowd work. If no one is responding to you – focus on the craft and your performance. Not on “What’s your name, what do you do?” Little candles around the room are a nice, cheap, and effective mood maker.

Also - try to avoid long shotgun style set ups. Where the stage is at the end of essentially a long hall way. This creates focus issues and encourages more talk at the back of the room plus isolation from the performer. Set the stage in a way you can half circle chairs around the comic and you’ll be able to insure a better chance of intimacy.

Sound: Holy shit do people ignore this. Yes – you need a mic and a PA. What the fuck are you doing without this? No – it cant be rink-a-dink. Voices need to command and cut through. Rule of thumb I find works best is put your treble up, scoop your mid down a bit – then raise the bass according to the room dynamic. Nothing too boomy, but nothing too tinny either. Take your time and teach yourself the difference. This will save your ass every time.

Walk around the room during the performance. Can everyone hear? Sound changes when  a room is filled with a crowd laughing. Are the speakers placed in a way so the front row isn’t cringing while the back is struggling to hear? (again – intimate room solves this almost always)

Seats: up close. Tables up front. Single chairs in the middle – high tops around the back edges. (see intimate room)

Temperature: avoid warm, avoid hot. Slight chill keeps people alert, laughing, and drinking (ie loosening up enough to laugh)

Location and parking: find a place where people would want to go. Good bar, designated smoking patio, and safe parking. If it’s too far or outa the way people won’t bother to ‘make the trek’. All this is pretty much based on individual cities. Some places 15 minute drives are considered nightmares while other places view them as the short cuts. DO NOT just choose a place because it’s got people always going there. If there’s a mass of people annoyed that a comedy show is invading their environment it makes for a hard time, kills growth and makes you look like a tool.

During shows: Don’t open doors if you can help it til 15 minutes before show time. Let them chill and socialize at the bar (if you have a separate room). Have someone work the door and seat people. Have upbeat music playing before and after the show. Keep it lit, but lower down to dark when the show starts. Basic shit people forget. Play music when the show is over. Do it asap as silence is creepy when the show ends. Other comics – volunteer for this shit. Act like you care. Also POLICE THE ROOM. If someone gets outa hand heckling. Kick them out politely and immediately. Be kind about it - we’ve all been drunk, but use it as an opportunity to train the audience on how to be an audience.

Rule 4:

Approaching venues.

Found a place that fits most your criteria? Choose the best night for everyone. Talk to management. Make no promises that you’ll have immediate crowds, but explain what you want to do and willing to spend a year developing it. Don’t look for money and don’t accept a shitty Monday night because most bars will cancel events around Monday Night Football. If you take money out of the equation you have more control and freedom to run your show the right way. However if you prove yourself to the venue over time, you can possibly negotiate some cash to cover your promos. Just don’t expect the bar to help out or do it for you.

Bar/venue management is in constant flux and the greed factor is amazing. Especially when a new manager comes in all ‘swinging dick’ thinking he can tweak things.

It’s important to know that no matter how successful your show is - venues only want the ability to not think about that particular night. The freedom to focus on the chaotic hell that is operating an actual business. If you take all responsibility out of their hands except the night being guaranteed yours for a set period of time - you avoid most of the potential hassles. Far biggest is the one where we expect the venue to support with a crowd and then slack off on our own promotions.

That said - finding a place that will treat you right from the start with food and a tab is a goddamn treasure.

Build it first then get the bar/venue behind it. If you can’t build it without their help you probably weren’t ever going to anyway.  Be honest, direct, and make sure you get a lot of time to make it a thing.

It takes forever to do this proper.

Rule 5:

Know your audience. Have good taste.

People want to drink, fuck, and possibly smoke. That’s the first thing you have to accept. Seeing a comedy show is rarely first. There’s a reason it’s called Netflix and Chill as opposed to ‘See sad people talk about their failings and Chill’. There’s a lot of competing forms of entertainment and if you want people to see comedy (especially local) you’re going to have to make it special and worthwhile. It also requires like minded people and talent. This is where taste and direction is absolutely important. You’re going to have to decide what your goal is.

What I write here is purely my own tastes and may not measure up with yours. Please keep that in mind. My personal view is not booking shows where comics are screaming nigger, cunt, and rape as if they’re making a statement (this falls into ego ahead of comedy category for me) I don’t have any qualms with those topics in comedy, but most the time the people doing it are just covering up the fact they can’t write jokes and criminally boring and cliche. Demand better for yourself and earn the right to tackle those subjects.

That said – if your goal is to do a no rules, metal af, slayer themed comedy show – then you’re attracting a specific crowd that won’t be turned off by those subjects. However – this one rule applies across the entire spectrum – the jokes still have to be funny and performed well no matter. Do you, but develop some goddamn taste.

I also avoid ethnic themed shows for the same reason.” Oh cool, let’s do an hour on Mexican stereotypes.” These shows can attract full crowds and can be very rewarding – crushing with ‘been there done that’ jokes that play on stereotypes, but most comics who get sucked up in that start believing they’re anything other than a future Jeff Dunham puppet. Develop taste, demand better, kill your pandering ego. Plus – if your audience is made up solely of people looking for basic bitch racial jokes – no one will grow on stage and you paint yourself in a corner unable to book better and more original acts. Well done – you created a bad place to do comedy.

Rule 6:

You can’t do it alone

If you are a comic looking to create a space that allows you to get better on stage, develop an audience and more – know that you can’t do this by yourself. You can do it once for sure, twice, maybe even up to 6, but eventually you either stop crafting new bits or get worn out doing all the promos for your event. Know this. Get a group of comics together who will think like you do or trust you enough to follow through. Everyone will have to work together. Assign simple promo/show duties divided up. That will free up time for all to handle their own personal writing and be able to knock out their small share of the promoting. Does this mean get the funniest people in your town? Maybe not.

Rule 7:

Lineups

What if you’re new to comedy, but still want to produce shows you can grow on? Great – that’s how I started, but instead of promoting my name – I came up with a name for a monthly show that presented comics I loved to watch. Funny people I could introduce to an audience I felt would appreciate seeing great acts. This is how you build substance. Nobody trusts your constant hype of yourself, but promote a show that’s about the comedy first, that’s about a good time, in a good venue for the sake of good comedy – and you’ll earn a good name and better act for it. People will trust your word and thank you for it.

Your host has to be a good comic who can keep a show together. Don’t throw up the rookie open micer to run the list because he can bring a crowd or isn’t smart enough to know hosting is actual hard dedicated work. When you pull this kind of shit you’re creating a clunky atmosphere and a bad show. Care about the event you stupid self entitled fuck. Comedy before yourself or lose a good thing. Start on time and lead off with the best comics you have - then mix up the acts for variety sake. Towards the end you can mix in whoever you know is taking chances that week or someone new with potential. By then the audience is on board loose and hopefully in a supportive mindset. 

(Doing the opposite of this trains your crowd to show up late and not respect the show thinking the start is just filler crap)

Creativity over Funny: You got to be funny yes. Absolutely, but anybody can pander for laughs. Farts are goddamn hilarious. Being creative is a challenge that should trump all. Its what gets you to write more. It’s what pushes you to get better. Being funny isn’t always the issue, but it’s the first thing comics attack themselves for not being. More often the idea is funny, but you sucked at getting to it, or communicating in general, or digging deeper into what the actual point of the joke is, or coming up with a creative avenue in the bit that would make you excited to say it on stage (or maybe you weren’t comfortable yelling at 30 drunks who just got done playing trivia now trapped in your comedy show while three different margarita machines squeal through your setups).

Anybody you book should have the freedom to fail. If you book a 15 comic showcase of short sets – give a few performers the chance to fail around the 9th -12th spot. Let them feel trusted to take some chances and grow. This will pay off huge down the road for everybody.

Everybody performing promotes: Make it a must. If you want good shows it requires community effort. I have a comic friend who actively says he refuses to promote any show he’s on. I won’t book him. If he doesn’t think he’s good enough to promote people to see, why would I ask anyone to see him either?

(All this still coincides with the very first rule btw – only promote good things worth seeing)

Avoid Poison: I know a lot of funny people who kill on stage, but create the worst atmosphere to hang or work around. They’re negative for the sake of being negative, treat new comics like lesser people, and shit on every crowd for not being exactly the way they think they should be. Don’t make em’ apart. All it does is kill momentum and make people not want to come back. Don’t get me wrong – I love negativity – it can be a blast! But if you’re trying to build something positive you won’t get far surrounding yourself with these types of comics who refuse to allow themselves to care. They bring everything down. Ask them to go. You don’t need that shit. It’s not helping.

Social anxiety: Let’s just get this out of the way. 99% of you DO NOT have intense social anxiety. You’re just an asshole. Oh you mean interacting with people is hard and uncomfortable? Yeah – suck it up you self absorbed piece of shit. Hang after the show and thank people for showing up. Go out and talk to people you meet about this ‘cool thing you’re apart of they might like’. Support comics on stage by watching and clapping as opposed to talking, interrupting, or other poisonous self involved bullshit.

Rule 8:

Actually promote. Then do it again. And Again…

Let me let you in on a little secret. No one for sure knows what they’re actually doing. Producers are the biggest con artists in the fucking business. So much so that they often con themselves into thinking they’re competent. Look – the only thing that works 90% of the time is booking acts people want to see. Established names with valid credits. Can’t afford that? Then specialty gimmick shows often do the trick (to an extent).

Not one promotion tool works by itself 100% of the time. You have to do all of them – in advance – and then lather, rinse, repeat. Here’s the checklist: Start with the name of your show.

Facebook: Create an event. Create a meme you can tag performers in. Post both – rely on none of it. Encourage shares and likes. Facebook has an algorithm that pushes popular posts ahead of posts with one or two likes. If you decide to create a page dedicated to your show, insist all the comics you collaborate with to invite people to like the page thru wall posts and instant messaging. This way you’ll have a large dedicated pool to promote events to. Do not invite out of town people to events or to like the page. Avoid getting bands, or old parents, or other comics to like the page. These people rarely actually go to shows and if they want to they can like the page on their own. If comics don’t want to help with this, don’t book them.

At the start I liked to make these events secret. I never made posters with a shit load of strange names with no credits. Sure it’s nice to see your name on a thing, but nobody knows or cares who the fuck you are so be good on stage – promote the show as a whole instead and people will figure out real quick who the fuck you are if you get good enough.

Text and Instant Messaging: Be polite, be sincere, and don’t just be ‘promoter person’. It turns people off (especially friends) - makes them feel like cattle to your ego. Yes you want your friends to see a great show, don’t hound them about it. Be a fucking friend and keep up with their lives. Ask about them. Actually give a shit and they’ll give a shit about you. (Life Hack: Being a person will also make you a better comedian) Also - don’t keep inviting your dead friends to your events stupid. Again – no –  you do not have social anxiety. 

Alt Weekly: Most cities have them. Look what they’re announcing. Look up the editor in charge of show announcements. Message them. Start a polite relaxed dialogue. Invite them out. Don’t be needy. Buy them a few drinks it’s a tough job they have to do trying to satisfy everyone at once. Don’t take it personal if they give you nothing back – they’re busy and paid like shit. Just stay in touch and be cool. If you develop great things they’ll go to you more and be there for you.

Flyers: Make a small number. Make them look like professional tickets or make them look cheesy on purpose, there’s a wide selection of taste to draw from and just so long as they’re simple and not filled with the names of a bunch of people no one gives a shit about – you’ll do fine. Don’t just hand them to strangers. Go to bars or popular spots you can talk to people in idle conversation and offer them info on this ‘cool thing you do if they’re down to check it out’. Again – You don’t have social anxiety. Go with friends and performers on the show. When you do it alone it feels weird and 9 times outa 10 - you give up on it. DO NOT just stash them on cars or in alt weeklies. That’s lazy and also rude as fuck.

Suck it up and be a person.

Meetup groups: there is a lot of them online join or start one.

Instagram and Twitter: good to have, but if you don’t have a pool of people working them together they don’t get you that far. Take pictures of the shows, post them on your pages. Let people see that people are attending your shows and liking it. This is huge and builds community.

Talk to people, get emails, Facebooks, whatever. Follow up. This is the number one thing that works – THAT NO ONE WANTS TO DO. Suck it up. Do it or watch everything fall apart.

All of the above - every week and forever. By themselves they will not work, but together you give yourself the best opportunity to succeed.

Big vs. Small Market: If you’re in a big market you have the luxury of a lot of talent, but the handicap that they probably can hit up some shit mic the same night without having to do any of the above work. If you’re scene is small then you have the luxury of comics who will be eager and excited to see growth enough to do the work, but probably not enough to sustain a weekly show. (ie – If you have 20 comics doing 4 minutes you can have a nice showcase and opportunity to work in more new sets, also 4 minutes prepares you way better for tv late night auditions. You can make this show weekly, but if you only have 7-10 comics in your scene– you can probably pull off a monthly at best)

Jokes repeated bore and wear out an audience. Constant new jokes that aren’t ready do the same. Hit all the shitty mics you can and save the above type of work for one show worth promoting. That way you can develop material and stage chops, then test it out when it’s mostly formed in a good creative and trusted atmosphere. This will also make you look good to the audience that naturally builds around you.

The problem here is a lot of comics will get better, stop going to the hard mics, get lazy, dwindle out, or worse – get better – move forward and do nothing for the scene coming up to support them and teach them to do what they learned. Things will eventually fall apart and many involved will put their egos ahead of their comedy and think they’re above doing the work anymore.

Entitlement breeds complacency. Complacency kills art.

Try to avoid that or at the very least be conscience of it cuz it happens to us all no matter what level you are at.

Rule 9:

There is no money.

Like none. The money’s at the end. To get to it – you have to do the work. If there’s no environment to do the work right – you have to make one. Everything above is a helpful suggestion on how. Take it or leave it.

You can do free shows, $5 shows etc, but if you’re goal is to cover gas money to pursue becoming a standup comedian. You rarely get it for years.

If you’re a promoter looking to capitalize on talent by using them for the promise of ‘exposure’ and taking a $10 cover for your ‘trouble’ – well you’re a piece of shit and like the ‘fake it, til you make it’ people – Kill yourself. Radiation is something that also requires exposure and yours is about as worthwhile you charlatan.

If however you just want to cover printing and promotional etc – ask for donations. Let people pay what they want, be cool, or work as a collective with the emphasis on becoming better at comedy - so you can eventually be badly paid unappreciated touring comics. It’s about comedy first, ego second. There’s a reason why I didn’t make money a thing when looking for a venue. When you take money out of the equation - it becomes about the art. When you throw some nickles in, everything seems to get fucked up.

If you do this right – you’ll eventually be able to create networks with national acts and opportunities you never would’ve had by grinding out the same bullshit bar shows and no taste open mics. If you’re lucky enough to make a career out of it – honor these shows whenever you get a chance and be supportive. It’s real easy to fall off the high rung and have to do it all over again as many comics often do.

Do the work right. Avoid paying Lip Service. Follow through on your Word.

Title: Raincheck
Fandom: Marvel
Word Count: 1,180
Characters: John Allerdyce x Reader, Bobby Drake, Jean Grey, Charles Xavier
Reader Gender: Female
Warnings: Family issues, making out
Notes: Request from anon for “The reader is really sad (crying, won’t leave the room) because its her little sister’s birthday and she can’t go home because her parents basically ran her out of the house. John does his best to comfort her because his family wasn’t exactly great to him either.”

Originally posted by pleasingpics

       “Where’s Y/N?”
       That had become a question frequently asked by John Allerdyce – much to the surprise of everyone around him. He typically didn’t care much about anyone, but the pretty young woman, with bright smiles and kind eyes, had grown on him. He always made sure that someone invited her when they were going out, always eager to spend time with her.
       “We asked her to come, but she said she wasn’t feeling up to it,” Bobby replied, shrugging. “C’mon, let’s go. We don’t want to miss the movie.”
       “You guys go on, I’m gonna go see if she’s alright,” John stated, as if it were the most normal thing in the world. Bobby and Rogue both raised a questioning eyebrow, but said nothing as he walked off in the direction of Y/N’s room.
       John rapped on her bedroom door with his knuckles. After waiting a few minutes and receiving no response, he did it again, calling out “Y/N, it’s me, open up.”
       “What do you want?”
       Her tone surprised him. She was always incredibly nice to him, but she had said that with an uncharacteristically hateful tone. His brows furrowed together out of concern and confusion.
       “What’s wrong? How come you don’t wanna go out with us?”
       “I just don’t, alright? If that’s all you came here to ask, you have your answer, so please go away.”
       “I’m not going anywhere until you tell me what’s wrong.”
       There were a few moments of silence, before the door flung open to reveal a very annoyed-looking Y/N. John immediately noticed that her eyes were red and a bit puffy.
       “What’s wrong?” he repeated, his voice much softer than before. She opened her mouth to give a reply, still looking irked – then her face scrunched up and she started crying again. John froze for a moment, being that he had absolutely no experience with crying girls. If it had been anyone else, he would have left right then, but his feelings for this particular crying girl compelled him to pull her into a hug. Her arms wrapped around his torso, and he could feel her tears beginning to soak into his shirt. John led her back into her room, kicking the door closed behind him. He noticed that there were a few envelopes and a medium-sized box on her bed, all with a big, bright red “RETURN TO SENDER” on them. He carefully laid down, so as not to damage any of the items, and she laid next to him, still clutching him tightly and crying.
       After about fifteen minutes of Y/N sobbing, while John slowly rubbed his hand up and down her back, she calmed down. Her breathing became more even, and her tears stopped.
       “I’m sorry.”
       “What the hell are you apologizing for?” John asked with a small chuckle.
       “For crying like an idiot in front of you, and ruining your shirt.”
       “Well, I know how it feels to have shitty parents. And you didn’t ‘cry like an idiot.’ Even if you did, I wouldn’t care. Also, I stole this shirt from Bobby, so I don’t give a shit about that either,” John replied, smiling down at her, although her face was still buried in his chest. “Wanna tell me why you were crying?”
       “It’s my little sister’s thirteenth birthday today. It’s our first year apart since my parents found out about my mutation and kicked me out. I knew they wouldn’t let me come see her, but I thought they’d at least let me send her stuff….”
       That explains the envelopes and the box… John thought to himself. He was equally angry and sad, a feeling that he wasn’t used to. Angry because of her asshole parents, and sad because he hated seeing her upset like this.
       “We could see if Professor Grey or Professor Xavier could get a message to her when they’re done teaching their classes; let her know you’re thinking of her,” John suggested. Y/N looked up at him and smiled.
       “That’s a really good idea. Thank you.”
       “Anytime, gorgeous,” he said, smiling back, before standing and pulling her up with him. “Now, let’s go shoot some pool. Me kicking your ass should take your mind off of things.”
       “Me kicking your ass definitely will,” she retorted, then followed him to the rec room. They were only there for a half hour, then they heard Professor Xavier’s voice in their minds.
       “Y/N, John, we need you in my office – immediately.
       They shot each other wary glances, before taking off in the direction of his office, unsure of the severity of the situation. Professor Grey opened the door for them before they had a chance to knock, and she wore a smile.
       “Someone’s very eager to see you, Y/N.”
       She stared at the professor with a confused expression, then her gaze found the young girl in the room. The girl wasted no time in running full-speed at Y/N, screaming “Sissy!” Y/N enveloped the girl in a bear hug, and John could see tears forming in her eyes.
       “Her sister’s powers manifested today, so their parents kicked her out. They packed all of her things, then put her in a cab directly to here,” Professor Grey whispered to John. He nodded, watching the scene before him with a small smile on his lips. He left quietly, knowing they needed some quality time together.
       After Y/N’s little sister had been enrolled and she was settled into her new room, Y/N found John again, playing a game of pool by himself. He was about to give her his usual “What’s up?” when her arms wrapped tightly around his torso, causing him to freeze. He awkwardly wrapped an arm around her shoulders.
       “Thank you,” she murmured into his chest.
       “For what?”
       “For being so nice to me. You were the only one who actually gave a shit that I was upset today, and you did what you could to help. So, thank you.”
       “Like I said: anything for you, gorgeous.”
       She put her hands on his shoulders and stood on her toes to give him a kiss on the cheek, at the same time John turned his head. Their lips met, and they both froze. But neither moved away.
       In fact, John’s other arm wrapped around her waist, pulling her closer and deepening the previously-maladroit kiss. Y/N’s arms wrapped around his neck, and one hand eventually drifted into his hair. When his fingers dug into her hip, she tugged lightly on his hair, earning a low groan from him. Then, very abruptly, she put her hands on his chest and pushed him back, both of them breathing heavily.
       “If I don’t stop myself now, I’m going to start ripping your clothes off. But I promised my little sister that we would go get pizza and go bowling,” Y/N explained, grinning. “Care to join us?”
       “Sure,” John replied, then a suggestive smirk formed on his lips. “But only if we can raincheck you ripping my clothes off.”
       “Deal.”


@mayathepsychicc  @mooney-blake  @fantasticallycaitlin  @wreakedhavok  @shayara  @mrspetermaximoff  @willsomeoneholdmyhand  @buckybearbuchanan  @petermaxxi  @pyrodyce  

Not Your Typical Love Story, But Your Cliché Porno.

Request: Gerard smut where hes a porn star and y/n is doing her first film and hes the co star and they have to do the stereotypical teacher student porno with a shitty plot and just all smutty goodness

AN: This is gonna get weird.

Did you know 66% of men and 41% of women watch porn at least once a month? Don’t believe me? Look it up. Despite porn being shrugged off as sleazy, poor quality, unrealistic sex, the porn industry grosses over 10 to 14 billion dollars annually. The stigma and universal conclusion about porn is quite true however, porn is the definition of unrealistic and is sometimes so cheesy you can’t even get off to it because you’re laughing so hard. The most amusing factor about it is that somewhere in the world, a teenage boy is being brain washed into thinking that he could get a job as a pizza boy and some blonde bimbo will bang him instead of paying. 

Gotta love porn.

Even though I was well aware of the horrendous scenes and stories porn revolves around, I still couldn’t help but groan at the part I landed. Of course, when I finally build up the nerve to audition, this is what I have to work with. The email was simple and straight to the point.

Title: “School Girl Earns Her A.”
Co star: Gerard Way
Summary: Student seduces teacher for a better grade.
Your character: Student
Co Star’s character: Teacher

Not much of a plot, but that was suspected. Porn is 90% improvising and 10% of the director yelling a few key words and positions they want you to include. The rest of the message was all the information about the actual shoot, date, time, address, along with a few routines and crew member names. 

I was thrilled that my interview went well and got picked up by a company fairly quick, but really? Teacher and school girl? I internally cringed at the thought of what I was sure my costume would be as slutty as possible and in a signature school uniform skirt.

And I was exactly right.

The designer, who I remembered from the list was Ashley, held the outfit level to my chest and examined it, furrowing her eye brows as she lined up the top. I heard mutter “too big” to herself and switching it out with a different size, biting the inside of her cheek before giving it an approving nod. “Okay, try this one on hun and we’ll go from there.”

It was relieving to have another girl helping me, a majority of the crew were men and they all couldn’t keep their eyes to themselves whenever I walked past them. I could tell this wasn’t Ashley’s first time working on a movie because she sensed this would be my first one immediately after I walked in. That was also reassuring, she was trying to help put my ease at the same time without making me feel like an amateur. 

“How does it feel?” She inquired when I walked out of the dressing room, admiring the uniform in the mirror. 

“It’s a little snug, but i’m guessing that’s the point eh?” I chuckled, adjusting my boobs again as they were determined to spill out of my shirt.

“You already got the business down kid,” she said in amusement, tweaking a full ruffles on my shirt and straightening the pleated skirt. “Okay, now we just got to touch up you’re make up and then you’re ready to rock girl.”


I’m always extremely impatient when it comes to waiting. Horrible character trait, I know, but it’s simply the worst. Waiting leads to thinking and thinking leads to second thoughts. And the last thing I need is to be having second thoughts about this when i’m in full costume and sitting cross legged on one of the plastic chairs outside the set.

I was nervous, beyond nervous. I brushed off the thought of any downsides to doing this when I first filled out an application, the company paid well and I sure as hell could use the money. But now i’m mentally imagining thirty people crowding behind the camera and watching my every move and running out is starting to sound like a good option. Before I could, the door swung open and Jordan, the director, walked out.

“Alright, we’ll all ready in there,” he said casually, nodding his head towards the set. I nodded, standing up from my chair, making my black heels click against the tile floor. 

Jordan didn’t look like what you usually imagine a porn director to look like. The initial mental image is some creepy, old, bald guy who looked more like a guy you instinctively lock your car door when you spot him coming near you instead of someone you can comfortably have sex in front of. He looked young, had short, spiky hair and complimented the rough look he was working with a few piercing and tattoos. 

“Nervous?” He asked, glancing back to me.

“Very nervous,” I admitted, feeling the jitters come back. “I don’t even know this guy.” The sentence slipped out before I could stop it. It felt like a foolish thing to be hung up on in this business. No one knew each other.

But Jordan waved it off like it was nothing. “Don’t worry, you’ll like Gee. I’ve done a few films with him and well,” he paused to chuckle lightly, shaking his head. “Let’s just say I haven’t had any complaints.”

I laughed lightly along with him, picking at my nails unconsciously as I watched him set up his camera. We small talked here and there as he ordered around the rest of the camera, demanding more lights in certain areas and getting multiple cameras spread out to capture every angle. 

The door creaked open, alerting everyone that someone was here. Jordan’s head perked up and he grinned widely, jumping up with his arms stretched out. “Gerard!”

What’s the first thing that comes to mind when you think of a male porn star? A muscular guy with a perfect quiff and a spray tan, right? They all usually look the same or have the same look. 

But not Gerard.

His jet black hair was long and purposely messy, yet combed back to give him a sophisticated look while being dashingly sexy. The daunting black locks made his complection seem even more pale and highlighted his deep hazel eyes. He was wearing a white button up with a black waist coat and striped tie over it, complimenting the look with black slacks and freshly polished dress shoes. He had a coffee in one hand and a cigarette in the other, pinching the bud between his index and middle finger. Gerard looked like the substitute teacher you fantasized about having when you were a teenager and my mouth uncontrollably came crashing down before I could stop it. 

Thankfully he didn’t notice, smiling at Jordan and giving him a quick hug before following him to his desk in front of the fake classroom, setting down his coffee and plopping down on his rolling chair. I could feel my cheeks heating up as I made my way over to him, heels clicking obnoxiously with each step I took. He glanced up from drink and eyes me, a coy smile forming on his lips as he swiped his tongue over his bottom lip.

“Hi, i’m Gerard. But you can call me Mr. Way,” he chuckled, adding air quotes to his character name. He had a thick jersey accent and his voice was oddly soothing and melodic . “What’s your name darling?” He asked politely, extending his hand out. His charm was ridiculous and I started to understand why Jordan had little doubt I wouldn’t like Gerard.

“Y/N,” I responded, my voice seductive and hinted with lust. I shook his hand, his large, calloused one engulfing mine. He flashed that smile at me again and set aside his coffee, folding his hands up into a triangle and raising an eyebrow at me.

“That’s a lovely name, i’ll have fun moaning that later,” he winked, his eyes lighting up when I squirmed at the comment and fought to keep my composure. Jordan’s shouts snapped us back to reality and I scurried off to the desk in the front row as Gerard flicked his cigarette and Starbucks cup into the bin next to his desk and organized his papers to seem more realistic. 

“You two ready?” Jordan asked, placing a hand on my desk and looking back and forth between us. I let out a shaky breath, shuffling in my seat and avoiding the hungry gaze of all the crew members. Gerard seemed to notice and frowned.

“Hey Jor, why don’t we clear out the room? Y/Ns obviously nervous and just having you in here we’ll probably keep her from freezing up,” Gerard suggested, shrugging casually while he scribble nonsense onto one of the blank pieces of paper. 

Jordan paused, thinking it over before nodding. “Will that help?” He asked, looking down at me. 

“Yeah, that’s fine,” I squeaked, giving Gerard a grateful glance as Jordan shooed everyone out of the room. Gerard simply winked back before returning to his papers.

Jordan hoists up the camera so it’s level with his eyes and flashes a wicked smile. “You guys ready?”

I nod, adjusting myself one last time as Gerard just responds with a curt, “yep.”

“Alright,” Jordan pauses for a few seconds, allowing us to get into character and loosen up. “Action!”

I looked up at Gerard, who seemed very interested in whatever work he was pretending to do, batting my eyelashes for effect. “Why did you want to see me after class Mr. Way?” I said in a velvet voice. 

Gerard tilted his head up, suddenly very serious and professional. “Come here.”

I stood up and slowly walked to Gerard’s desk, making sure to sway my hips with each step. I leaned forward onto the desk and rest my head on my hands, kicking my left leg back so the hell was nearly touching my ass.

“What’s the problem Mr. Way?”

“You’re falling behind in my class Y/N. You’re not turning in your homework or paying attention during my lectures. You need to focus if you don’t want to repeat this class,” Gerard said in a calm yet serious voice. He had a frown on his face but I could tell how hard he was trying to not smile at how cliché everything felt. 

“I’m sorry Mr. Way,” I pouted, looking up at him through my long eyelashes. “Maybe I could do something for you.” I smirked at Gerard before sauntering around his desk, hovering over him and tracing my index finger down his chest.

“I’m your teacher, i’ll get fired,” he protested, weakly trying to push my hand away. I straddled his waist, running my fingers through his hair.

“Come on Mr. Way, no one has to know,” I purred into his hair, making sure I was loud enough for the cameras to pick up. Gerard pauses for a moment before nodding, glancing up at me with a hungry look in his eye.

“This will just be between you and me, okay sugar?”

I giggled and nodded, grinding my hips down and holding back a moan when I felt him buck up. My arms hooked around his neck, fingers toying with the soft hair at his nape. Jordan moves closer and I hear the small static noise of the camera zooming in. I assumed that was a cue for us to deepen the kiss because Gerard’s tongue forces my mouth open and quickly invades my mouth. 

I moan at the feeling of Gerard’s tongue rubbing against mine, the wet noises our mouths are making is obscene and I whimper when I imagine what we look like. My lungs burned as I pulled away from the kiss, desperate for air. Gerard responded by lifting up my skirt, hands gripping my ass harshly. He digs in with his nails and then smooths a comforting hand over the same spots.

He brings his hand back before bringing it back down and smacking my ass hard. I whine and throw my head back, my grip on his shoulders tightening. “You like that, baby?” Gerard asks, smacking again and smirking at the moan that bubbles out of my throat. “You like when I smack you?” 

“Yes,” I whimper, his large hands roaming up and down my thighs.

“Yes, what?” Gerard says cockily, sucking on his teeth.

“Yes, Sir,” I corrected, the beautiful wide smile returning on his face.

“There you go. Maybe I should grade your final based on how good you can suck me off. How ‘bout you get on your knees and show me what you can do,” Gerard growls,teeth nipping at my neck. That was the last line of the script and now it was time for us to show off our improv.

“Yes, Sir,” I say again in the most lustful voice I can muster, grinding down on his hips before moving off of him and sinking onto the floor. The cold tile felt like ice on y exposed knees and my heels made an echoing click every time I adjusted. I could see Jodan move around from the corner of my eye, kneeling on one knee to get a straight view of me from the side.

I blocked out the camera and focused on Gerard, feeling a chill run up my spine when my eyes locked with his enlarged pupils that absorbed all the light hazel, leaving only a thin border around them. I palmed at the growing bulge, watching Gerard lean his head back into the chair, a small hiss escaping his mouth. I smiled and undid his belt, loosening the leather strap with ease and wiggling the slacks down to his knees along with his briefs.

His erection springs free from the tight restraint and I could feel my mouth watering. His size was beyond impressive and I knew there was no way in hell I could take all of him. It would be a challenge, but who doesn’t love a challenge?

I pumped him slowly, teasingly, and rub my thumb over his slit each time my hand meets his head. Tiny beads of pre-cum leak out of the tip and drip down the sides and I can’t stop myself from leaning down and running my tongue along his protruding vein. I hear his breath hitch and I hold back a chuckle, moving up to his tip and taking it in my mouth. I flatten my tongue and rub the underside of his head, making Gerard clutch at his armrest. 

“Fuck, yeah, just like that baby,” Gerard moans, removing his nails from one of the leather arm rest and running a hand through my hair. I stretch pen my mouth as wide as it will go until my jaw starts aching and sink down, barely taking in half of his length before his tip brushes against my gag reflex. 

Yep, that’s as far as i’m gonna go.

But I knew that’s not what matters, you could give someone an amazing blowjob with barley going an inch past the tip if you knew what you were doing. I hollowed my cheeks and starting bobbing my head, sucking extra hard when I got to the head and sometimes pulling off completely to blow cool air against it, watching Gerard shiver and squirm in his seat.

More shuffling around me and I see Jordan move behind Gerard, hovering the camera above Gerard’s shoulder and gesturing for me to look at him. I look directly into the lens and moan around Gerard, batting my eyes as I felt tears brimming.

“So…fucking good,” Gerard pants, the hand resting on my head tightening as he pulled up, hinting for me to get off. I pull off of him and finally catch my breath, my throat already starting to feel sore. Gerard ran a hand through his sweaty hair before standing up. “Get on the desk now,” he ordered. I sat down on the edge of the desk, looking up at him. “Flat on your back,” he instructed, reading my mind and answering in a raspy voice.

The cool wood felt good on the exposed area on the small of my back. My shirt barely covered me and I still had the top buttons undone to give a sneak peak of my breast. Gerard noticed, his slender fingers trailing up my stomach to the first button. 

“Fuck baby, you have no idea how sexy you look in this uniform,” he grinned, his right popping one of the buttons open while his left hand traveled up my thigh. He took his time, getting joy out of watching me squirm under his hard gaze and trying to arch up into his touch. Jordan snapped his fingers behind me, signally for Gerard to pick up the pace. I was relieved that I would finally get some sort of relief, but the growing intimacy from all the teasing was nice too. But that’s not porn, porn is about putting on a good show for the viewer and not for us to build up chemistry. 

Or as I recall the interviewer saying, “If you want passion, get the fucker’s number after the shoot and do that on your own time.”

The last button flicked open, revealing my lacy bra Ashley picked out for me, Gerard’s eyes growing wider and another smile curling up on his face. He took the fabric in both hands and torn it right down the seam with one swift motion.  He leaned down to my ear, biting my earlobe. “I’m gonna fuck you so good baby,” he grunted, his hands roaming down to my legs and pushing my knees up. “But first, how about I reward you for sucking my cock so good?”

I whimpered and nodded frantically, forgetting all about Jordan and the cameras. He knelt down in front of the desk, hooking his arms around my legs and yanking me towards his face. He pushed my skirt up, taking the hem of my panties between his teeth and slowly pulling them down and letting the fabric fall to the floor. 

He spread my legs and kissed the insides of my thighs. His breathing had sped up, and he was moaning every time his lips made contact with my skin. How could he possibly be enjoying this as much as I was? My heart nearly stopped when I felt Gerard’s warm breath against my sensitive folds, and I held back a squeak as his tongue parted the lips of my labia and grazed my clit. He then held them apart with his thumbs and placed a loving kiss against my sensitive little bud.

“You taste so good baby,” he murmured against me. His tongue swirled around my clit in complicated patterns, and I truly understood for the first time how many girls he must have practiced on to get this good. His tongue lapped at me relentlessly, and my breathing grew labored as I moaned and whimpered his name. The flat of his tongue pressed firmly against my clit and I cried out for more. 

“Sir, please,” I begged, and he brought one of his hands down to slide a finger inside me. With my free hand I clawed at the desk in an attempt to find something to cling to. He crooked his finger inside me, hitting my g-spot and prompting me to cry out for him. Gerard added a second finger and crooked both at the same time. “Mr. Way, f-fuck! Please fuck me,” I whined. I couldn’t take it anymore, I needed more. I needed him.

“Since you asked so nicely,” he smirked, rolling his chair back. “Flip over, hands and knees.” I did what he said, trying my best to not acknowledge the camera. I felt his hands grip my waist, positioning me so my heels were barely scraping the ground and ass was perked up, on display. “Imma tie you up now, okay baby?“ He said softly as if he was talking to a child and I nodded, letting him pin both of my hands on my back and tie them together with his striped tie.

I gasped when I felt his head press against my entrance, teasingly running up and down my slit before slamming in. I choked out a moan and felt my legs turn to jelly. One hand stayed firmly on my hip while the other came up to the back of my head, keeping my face firmly pressed against the desk.

That’s a porn position for ya.

Each thrust was hard and deep, the whole desk scooting forward every time he bucked his hips forward. My hands pulled at the restraints and I groaned in frustration, I was aching to touch him. I glanced back and him and almost came at the sight. His button up was soaked with sweat and was clinging to his broad shoulders, eyes rolled back and dark locks falling onto his forehead. 

The room filled with breathy moans and the sound of skin slapping together, the occasional sound of the legs of the desk screeching against the tile floor. I used to think people over reacted in porn, but I was proved wrong. The feeling was indescribable and knowing we were on camera only made it more hot. 

I could tell by his noises he was getting close, moving his hand out of my hair and onto my other hip, forcing them back to meet his thrust in the middle. “I’m close Mr. Way,” I moan, struggling to find my voice as he sped up his thrusts.

“God, you sound so hot. You like my thick cock stretching you out, huh? Feel good, Princess?” He said in a husky voice, pressing down on my clit.

“Mm, yeah, fuck,” I cried out, my eyes screwing shut as I came. I could feel sweat dripping down my neck and the back of my thighs as Gerard continued to pound into me. His thrusts falter and become erratic, his breath coming out in short pants and grunts. 

“Come inside me, Sir,” I moan, my body shuddering at how sensitive I felt.

Gerard throws his head back and groans, his eyebrows furrowing and his mouth opening to form an ‘O’ shape. I clenched around his cock, feeling him shoot inside me, it doesn’t stop for a while and I can’t help but feel a swell of pride I made the sex god cum that hard. He eventually slows down his thrusts until he comes to a complete stop, pulling out slowly. He leans closely to my ear, whispering so the camera won’t pick up what he’s saying.

“Meet me outside my dressing room. I need to see you again.”

I couldn’t get myself to respond before Gerard walked away, pulling his slacks beck up and fixing his zipper. Jordan moved closer, getting one last shot of me slumped over the desk before snapping his fingers as the red blinking light turned off. 

“Cut!”

“21″ - Kurt/Blaine

Alternate Meeting AU ft. Bartender!Kurt

On the night of his twenty-first birthday, Blaine embarrasses himself in front of the cute bartender.

~3400 words

Thank you to @whynobritneybrittany for beta’ing, which mostly consisted of reminding me to use semicolons. 

On AO3

Blaine had been living in New York since he was eighteen. Attending NYU, he spent the school year living in the dorms and, desperate to avoid going home to Ohio, spent breaks crashing on friends’ couches. In return for living with them rent-free, he did most of the housework and cooking. One summer, when he could afford it, he rented a seedy week-to-week apartment.

Now, it was the summer before his senior year of college, and he was in the process of moving into his first real apartment. It was small–tiny, really–but it didn’t reek of cigarettes and the next door neighbors weren’t constantly screaming at each other. All in all, it was a good step up from his previous living situations, and Blaine was glad to be taking it.

Keep reading

anonymous asked:

what's so great about Midsummer?

Are you guys rant-baiting me? Seriously, is that what’s happening here? Because honestly you cannot ask me a question like that and not expect a rant, especially when I started drinking like two hours ago. 

So in much the same way that Romeo and Juliet is not just about a couple of dumbass teenagers topping themselves, Midsummer is not just about a bunch of fairies fucking around in the woods. (Although there is a lot of that, and that’s partly why it’s so glorious.)

Midsummer starts in Athens a few days before the wedding of Theseus and Hippolyta–and yes, this is the same Theseus that killed the Minotaur, hump-and-dumped Ariande, and then caused Aegeus to commit suicide because he FORGOT TO PUT THE RIGHT FUCKING SAILS UP. But that’s not importnat, what is important is that right from the start we have Shakespeare + Greek mythology which obviously = the most awesome literary sandwich EVER. But this whole Theseus/Hippolyta thing is thematically important too, because Hippolyta was Queen of the Amazons, and Shakespeare is giving us a hint that this play is going to be about female empowerment and the collision of nature and civilization right from the start. That’s called forefuckingshadowing, ladies and groundlings.

Then we have the lovers: Helena, who wants to marry Demetrius, who wants to marry Hermia, who wants to marry Lysander. Inconvenient, but hey, we all went to high school and we know how this shit goes. It’s made more complicated by the fact that Hermia’s father, Egeus, who is an absolute asshat, refuses to let his daughter marry Lysander without ever offering a real reason except that he has some kind of weird paternal hard-on for Demetrius. The upshot of this nutfuckery is that Hermia has the options of marrying Demetrius against her wishes or becoming a nun, which are pretty fucking shitty options. So what does she do? She says fucking NEITHER because she’s not an idiot and plots to run away with Lysander. 

MEANWHILE IN THE WOODS: Titania and Oberon (the king and queen of the fairies, respectively) are having a lovers’ tiff of epic proportions–like, their discord is so powerful it’s literally fucking up the weather and the seasons–over a changeling boy Titania is rearing on behalf on a friend who died. Oberon wants the boy for his entourage, or so he says, but it’s really kind of obvious that he’s just jealous of how much attention Titania is lavishing on it. Titania justifiably tells him to grow the fuck up, get over it, and come party with her, but he decides he’d rather pout about it and they go their separate ways. 

Back to the lovers: Hermia and Lysander set off through the forest, pursued (unbeknownst to them) by Demetrius, who wants to stop them eloping, and Helena, who just wants to bang Demetrius. And this is where shit gets really dark. People like to pretend this play is light and fluffy like cotton fucking candy, but you’d better back the fuck up with that assumption, because man, are you wrong. Demetrius gets fed up with Helena (who is in the middle of telling him to beat her like dog, can you say desperate), and literally threatens to rape her if she doesn’t stop following him. NOT SO FLUFFY NOW, IS IT? At any rate, all of the lovers eventually get tired and decide to lie down and sleep, because that’s what you do when you’re lost in an unfamiliar enchanted forest in the middle of the fucking night. I don’t know. 

Okay, so at the same time that all of this shit is going on (Did I not tell you this play was not fucking simple?) there are also a bunch of bumbling actors rehearsing in the forest for a scene they want to play at Theseus’ wedding. Among them is a guy called Nick Bottom, who is the biggest fucking blowhard of all time. But we’ll come back to him. 

Oberon and his little minion Puck hatch a plan–in a series of mind-blowingly beautiful monologues full of mermaids and rainbows and shit–to find a magical flower, which when you squeeze it into someone’s eyes while they’re asleep, causes them to fall in love with whatever they first see when they wake up. The Fairy King FUCKING ROOFIES HIS SLEEPING WIFE (say it with me: dark dark dark), and then takes pity on Helena and instructs Puck to love-blast Demetrius so he’ll fall in love with her when he wakes up, but Puck gives the potion to THE WRONG FUCKING DUDE (i.e., Lysander). You can see where this is going. Anyway, Puck doesn’t realize this, but he does stumble upon the players and is inspired to bewitch Nick Bottom so he comes out for his entrance with the head of a fucking donkey like a fucking shitty Animorph. Naturally this is the first thing Titania sees when she wakes up. Chaos ensues. The lovers have a massive, hilarious fight in Three-One while the regal Fairy Queen is busy not-so-regally seducing a donkey, and in the meantime Puck and Oberon are scrambling around like mad trying to fix what they fucked up. It’s fucking ludicrous but it is also gut-bustingly funny. 

But why is this play important? Aside from the frankly underrated quality that it’s wildly entertaining and has been wildly entertaining for like 500 years (no small fucking feat), it’s actually a really empowering play for women. It may not sound like it from the summary I just gave you, but bear with me. The women in this play are subversive as hell. They do whatever the fuck they want, regardless of what the men have to say about it. Hermia refuses to listen to her dad and the Duke, and just fucks off out of Athens to marry the man she loves. Titania basically tells Oberon to bite her when he tries to force her to give up the changeling. At the end of the play, Hippolyta tells Theseus to calm his fucking tits and let the lovers do what they want and he listens. And even Helena, who is possibly the most submissive female in the troupe, has some strong moments. She berates Lysander and Demetrius for mocking her, and resists the advances of the man whom she’s loved desperately since the start of the play because she doesn’t believe he’s sincere. That’s what is fucking up. 

Of course, you can argue that all of these women (Hippolyta excepted) are pretty heavily manipulated by Oberon. And that’s true. But that doesn’t change the fact that this play is a huge win for the female characters. At the end, they all have exactly what they want–except Titania, because she does lose the kid. But it’s not over–she tells Oberon that he has to explain how the events of the night all came about, and if you think she’s going to take it all quietly, I call BULLSHIT. (When I was in this and played Titania, we actually did a really interesting thing where at the end when she and Oberon are ‘making up’–read: making out–I actually pulled the flower out of his pocket and let him know he wasn’t fooling me. There was one hilarious night where we were like rolling around on the ground and Oberon kept smacking my hand out of his pants and I couldn’t figure out why until I finally realized I was grabbing the wrong flower, and that’s actually not a euphemism.) But the point is, fucking girl power. 

Anyway, there’s a lot more. Like I said, there’s a lot of stuff about the collision of nature and civilization. The lovers lose their minds in the woods, and Bottom become half wild animal. Hippolyta, the queen of the Amazons, is now the queen of Athens and is overruling the king. Shakespeare’s making some very interesting statements about the power of Man and men against Nature and women (note: interesting alignments). Sometimes it’s easy for that stuff to get lost in the hilarity of a dude with a fucking donkey head and fairy orgies and a guy dressed as a fucking talking wall, but it’s there. Midsummer is the best kind of comedy, because it’s deep at the same time that it’s funny as fuck. 

Also, did I mention? This play is fucking sexy. Oberon and Titania are about an inch away from writhing hate sex at all times, and the lovers aren’t much more restrained. If you want to do some steamy Shakespeare, this is a great place to start. (And if you want to have to rinse your eyeballs in bleach later tonight, there’s also a porno called A Midsummer Night’s Cream, wherein, believe it or not, you can actually see and hear the entire play performed by real life friggin’ porn stars. I shit you not.)

So that. That’s just a little taste of what’s so great about Midsummer. 

He has the best character arc of any character. Ever.

Never in all my years of being a giant nerd, have I ever seen a character redemption arc that even touches the quality of Zuko’s. He is shown so realistically and shaped so well that it’s impossible not to root for him to succeed.

Zuko is initially shown as the face of “the bad guys” for the show but after a while we see that he has so much depth and is actually a cinnamon roll that should be protected at all costs much more complex character, who is not as evil as we might have thought. 

We see that he was willing to fight for lives of soldiers that were going to be sacrificed. That is until he saw that the person he needed to fight was his father. This, in a lot of ways, symbolizes a lot of Zuko’s journey. He has to learn to oppose the main person he was trying to please. It’s hard enough to have different opinions from your parents when they aren’t the leader of a country that is taking over all others, so it’s nearly impossible to do so when they are.

We also get to see that he had to grow up dealing with his own personal bully in Azula, and with expectations that he felt he could never reach. Even with such a shitty childhood, he is still kind to all creatures… well at least until he gets messed up by HIS OWN FREAKING FATHER! He gets to the point where his only point and hope in life is to find the Avatar, a task said to be impossible.

He is so hell-bent on capturing the avatar himself so he can regain his honour and his life that he is willing to help the avatar to keep him from the hands of his rivals. So when later when he betrays his uncle to help Azula capture the avatar, he feels he should be happy. He has everything he thought he wanted, but nothing he really needed.

Zuko tries to live the life he thought he wanted but still feels angry with himself. As such he makes the scariest choice possible. He stands up to, and betrays his own father in order to follow his beliefs. He leaves behind EVERYTHING on the off chance that he could help right his wrongs, the wrongs of his father, and the wrongs of his whole nation. That is possibly the bravest thing any character could ever do.

And what happens when he finally gains the first step of trust and tries to help Aang? He looses his ability. He looses the anger that he was taught to fight with. He literally needs to find another source to fuel his fire.

The third season is always my favourite because we get to see Zuko’s struggle to be good. He still has a different view of the world but he never stops growing as a person. Eventually his earnest desire to do good allows him to earn the trust of all his companions, and even their friendship.

By far though, my favourite part of his redemption ark is his reuniting with Uncle Iroh.

The whole seen serves to show just how much he has changed. When he sees his uncle is asleep, he takes a peaceful approach and chooses to wait for him. As soon as Iroh wakes up, Zuko begs for forgiveness and is confused when he receives it so easily. The first time he was begging on his knees, his very own father burned him and banished him for speaking disrespectfully. The second time he begged for forgiveness he was refused it until The Gang could trust and come to forgive him each in their own time. 

But his uncle, he utterly betrayed him. Iroh was the only one Zuko had that really loved him but he turned his back on him. But Iroh loved Zuko unconditionally and was only concerned for Zuko’s way. Iroh is the one who helped start Zuko’s transformation, and as such, it’s perfect that he gets to see the fully rediscovered Zuko. This scene makes me cry every time.

Overall

Zuko can help teach many important lessons. He shows that you can come from any background and still be a hero. His development it’s self shows that if you’re not happy with where you are/who you are then it’s okay to change. He shows that you can be strong enough to find your own path, even if it means going against everyone else. 

But the lesson I consider most important is: it’s okay to be lost some times. It’s okay to make mistakes. It’s okay to be unsure of where to go. Being lost is okay. It’s just a stage in your journey. Eventually, you will find your way. Just don’t stop searching.

Why I Think Farkle Should Be Like The 'Shawn' of This Show and Have More ~Dramatic~ Character Arcs
  • Farkle parallels Shawn in the “first meeting” scene in Bay Window
  • We’ve known from a few episodes into season 1 that his parents have a shitty marriage
  • They fight constantly, like Virna and Chet used to
  • Boy is visibly going through some shit omfg
  • Like it’s either the writers purposefully having that or Corey is a bad actor? Which he isn’t. So it’s intentional.
  • Trust me it takes a lot to go from “colorful-hyperactive-boy-talking-a-mile-a-minute” into ‘all-dark-greys-and-blacks-look-at-my-teen-angst-as-I-mumble-words-now"
  • Most tv shows and movies use dark clothing as a visual cue that a character is going through a hard time/has depression. And the way Farkle seems to have lost his energy backs that up tbh
  • Also to back this up, Shawn was always in darker clothes than Cory
  • Throwback to Shawn always being disrespectful to authority figures because a lot of kids act out when they don’t know how to handle bad situations
  • Throwback to Farkle literally antagonizing the old English teacher into retirement
  • And in the same episode they used Turner to reinforce how much Farkle is like Stuart. Except, you know, Stuart would never disrespect a teacher
  • Farkle’s mental health WHY IS THIS BOY ALWAYS FAINTING
  • DOES HE SLEEP
  • Or are his parents yelling too loudly jfc
  • And oh hey didn’t Shawn sleep in class a lot??? Could’ve easily been 'home problems’ written off as laziness, and then by the time he’s with Turner he’s developed a sleep cycle that’s too hard to break
  • That whole Autism thing??? Like okay yes he doesn’t have Asperger’s. But wtf medical professional says “Well hey kid I don’t know what the fucks up with you I quit we’ll just stop testing now” like omfg
  • Also okay listen up do you know what’s better than a direct parallel??? An indirect parallel. Opposites. We could go to town with Farkle/Shawn bullshit omfg
  • Shawn’s dirt poor, even homeless a few times. Farkle’s the son of a multibillionaire. But both grow up in situations that leave them escaping to the Matthews place just so they don’t have to hear all the screaming??? Holy shit.
  • Two different situations resulting in the same feelings of emotional neglect, depression, alllll the things that fuck up kids coming from unhappy homes
  • ALSO Shawn was always very insecure about his intelligence. Shawn never applied himself in school because Shawn firmly believed he was stupid. He thought his only real redeeming quality was being attractive (which is, of course, because that’s one of the only things people ever validated for him; People tried to get him to try harder, but no one ever really sat down and beat it into his head that he’s more than a pretty face, he's smart and a good person)
  • Farkle is incredibly insecure about everything but his intelligence. He doesn’t think he’s attractive, he doesn’t think he’s funny, he’s literally said that he doesn’t see why his friends like him. (And apart from a cute “You don’t have to impress us! We love you just the way you are!” no one’s really validated him either. No one’s really told him why they like him so much- just like with Shawn, failing to see the depth of the insecurities and therefore failing to convince him that he’s worth more than his mind.)
  • So basically both need outside validation and in their minds, their only redeeming quality is something the other one hates about himself. Do you just. See how golden this is.
  • We know Chet genuinely loved Shawn, but he was completely unable to express that the right way. Because of his alcoholism and gambling and assortment of other problems, Chet had it in his head that what was best for Shawn was anything but himself.
  • Minkus clearly loves Farkle- but it seems very strained. Like, every time he comes on the show it seems like there’s more of a wall between them.
  • Whereas a lot of Chet and Shawn’s problems tended to boil down to 'Chet can’t hold a job’, Stuart and Farkle’s problem is that Stuart’s working too much.
  • Virna stormed out and came back again how many times???? Way too many. Didn’t Cory make a quip about it in Master Plan, like 'oh hey it’s Tuesday, better leave my family’ (I really don’t remember the actual line)
  • “This is the ring my mother keeps throwing at my father’s head! But she always wants it back by Thursday, so I need to move fast.”
  • The few times we saw Virna on the show, she’d always claim that she loved Shawn and he was the most important thing in her life. Except, you know, her actions clearly showed otherwise. She never took him with her when she left, even one time took their entire home, knowing that would leave a 12 year old on the streets. Fought loudly with her husband when she knew he could hear, enough that he considers “I WANNA BE NORMAL, CHET” something…well, normal to hear. There was that whole thing where Cory was trying to convince her to go home??? And she was like “They have to learn how to be a family”??? And she said it as if any problems Shawn had weren’t her fault at all??? Then of course we can’t forget about the time she found out Chet died, and promptly sent him a letter that boiled down to “I’m not your real mom never contact me again”.
  • We’ve seen Jen on gmw exactly once, and it was…weird. She seemed really controlling in her marriage with Stuart, she brushed off everything she did on bmw as if it was a normal teenage mistake. And omfg then when she was like “Nothing ever scared me, but since I had a child, the thought of something happening to him haunts me” or whatever
  • mmmhmmm O.K. Sweetie, so then where were you on DECEMBER 25TH, 2014, CHRISTMAS DAY, WHEN INSTEAD OF BEING HOME WITH HIS FAMILY, YOUR SON IS OUT ON THE MATTHEWS FIRESCAPE, AT NIGHT, ALL ALONE, NO COAT ON, 12 YEARS OLD, NEW YORK CITY, ARE YOU KIDDING ME???
  • Or literally all the other times where Farkle is literally just shown to be spending all his time on Riley’s fire escape (I think it’s safe to assume he’s there to escape his parents fighting, because idk why they’d even mention it in season 1 if they weren’t eventually going somewhere with it you know?). But like. He’s 12 in season 1??? I feel like if Jen was really worried about something happening to him, maybe she wouldn’t be letting him walk around alone at night in New York with barely a coat on. And fire escapes are not always the safest places in the world. Am I crazy or…?
  • So I really do think that focusing on Farkle’s home life could be a great arc to cover, you know? There are kids that have to deal with parents fighting constantly, and they usually manage to convince themselves that everything wrong in the relationship is their fault. There are kids that have to deal with feeling ignored and neglected.
  • And also, I know very few people can identify with him on the 'multibillionaire father’ aspect, but there are a lot of times where people’s problems get brushed off or not taken seriously because they have a lot of money. Like that is literally a thing. And it could be interesting to see handled, like “just because someone can afford more than you doesn’t mean that they live a better life than you” or something.
  • In gm Money, his little “He’s not…around the house that much.” tore my damn heart out and honestly come on they can do so much with Stuart and Farkle’s relationship they don’t gotta indirectly parallel Chet and Shawn forever p l s
  • Okay and like consider the fighting gets worse and Farkle starts acting out even more- becomes a little more notably like Shawn
  • And once people notice they realize his little throwaway comments about his parents relationship shouldn’t, well, be thrown away
  • Y'all know Cory’s gonna figure out something’s up when he has to give Farkle an F on a history test
  • They could have Stuart and Jen finally giving up and getting a divorce and show how that effects the kid
  • I don’t think either of them would be civil about it I think there’d be a nasty custody battle
  • Farkle coming over to Riley’s in the middle of the night for angsty Bay Window talks because he feels like his entire life is going to hell
  • It could be used to explain why he’s loved Riley since first grade- whether she knew she was doing it or not, she always manages to cheer him up when he’s upset
  • (Honestly I think that’s a probable. Why else would he always go to her house? He knows where his other friends live)
  • I’ve said this before and I’ll say it again- If they do the divorce route, I deadass want to see Jen winning custody and deciding to move back to Philadelphia. We’d get a retelling of “Topanga Moves To Pittsburgh” storyline. I want it omfg (Lucas moving back to Texas would be too obvious a choice. Like a 'groan loudly and ignore the episode exists bc this is dumb’ too obvious.)
  • Everything we’ve seen and heard about the marriage so far is lowkey on my radar like Jen’s throwing things at him and “You told me to marry you” and “Who does what I say?” “Everybody!”
  • Like consider somebody actually taking time to acknowledge men can be trapped in abusive relationships HOLY SHIT.
  • ESPECIALLY ON A SHOW WITH A LOT OF KIDS WATCHING IT
  • ESPECIALLY SINCE THEY’VE ESTABLISHED THIS IS A WELL OFF, VERY SMART MAN, AND THEY CAN’T SAY HE GOT TRAPPED BECAUSE HE’S WEAK OR STUPID (which is what too many people say about male victims)
  • BUT NO THEY KNOW HE’S SMART AND SUCCESFUL SO CAN YOU IMAGINE SOMEONE BOTHERING TO DO THAT STORY
  • u g h ohmyGod so much to work with there I can’t
  • But yeah you can get a lot of drama out of Farkle and I think it’d be super interesting
  • Especially when you compare episode 1 Farkle to current Farkle- a lot has changed omg
  • Depression storylines are important we all know this
  • Also I just really want Cory and Farkle to have a lowkey Turner and Shawn relationship is that too much to ask for
  • It’d be great
  • Also if we’re being real, every show has 'that’ character who life just constantly fucks over and so far that looked like it was set up to be Maya but she’s not doing the job well lol
  • Riley seeing he’s upset or not telling them something and doing her Riley Thing to get him to open up
  • Corey can handle the acting I have faith in him
  • I had a lot more points than this but it’s after 3 in the morning
  • Overall from the standpoint of a writer, this would be a great direction to take the character and I really hope the show writers deliver
First person writing; tips and hints.

First person writing is much misunderstood, and many people will tell you to avoid it like the plague if you want to get published…  but, here’s the thing, this may be advice from people who persoannly dislike the style or who find it doesn’t suit their works. 

So, as someone who often writes in both first and third person I’m going to give you some basic hints and tips that will put you on the path to creating solid works in first person. 

But first, the pros and cons of first person writing. 

The Pros and Cons

To be honest, I love foirst person for the depth of personality which you can give characters with relative ease. First person, for the reader, is like listening to someone telling a story - if this person is interesting and eloquent you can listen to them all day. On the flip side this means that you really have to invest in all your characters or the reader wil quickly pick up on the similarities or weaknesses and lose interest.

First person writing also allows you to create an intense sense of immediacy - these things are happening as we read and they can be tinted with the characters personal feelings too which makes it much easier to show rather than tell. The downside is that it is very easy to fall into telling. It’s key to remember that your character is telling a story, explaining the events,  not talking to the reader like a friend relaying gossip. 

To sum up;

Pros: immediacy, personality (and with the two, intensity), conducive to showing rather than telling. 

Cons: easy to fall into telling, very character centric ( this can narrow the field too much), and you’ll have to deal with some people’s knee-jerk dislike of the style. 

These are not the only pros and cons, but they are the key ones.

So how do you kick your first person writing into good enough shape to prove the haters wrong? Well, you could start by doing the following things;

Keep reading

Killing him softly

according to the prompt/idea by bluandorange. Excuse the shitty ‘lyrics’ that I made up on the spot as opposed to just searching for some real ones. 

“No.”

“Yes.”

“No.”

“Yes! C’mon Steve, you haven’t gone out in like, six months.”

Steve frowns at his friend, “That is a gross exaggeration.” (It’s not, actually. But Steve is stubborn and can’t help but stick his feet in the sand and resist).

Bucky just raises an unimpressed brow, “Is it really? Stevie, name the last time you went out for the night.”

It takes him longer than it probably should to think of something, “Just the other week! We went and saw that movie you wanted to see- y’know, the one about Amy Winehouse.”

“That was a month and a half ago.”

He blinks, “Oh.”

How time flies.

“Yeah, Oh. So c’mon- the concert’s in two hours, and I know for a fact that you don’t have anything due until the week after next! You can spare a lousy Wednesday night.”

Steve stares down at his too-thin arms; the way his fingers clench. Bone and skin stretched thin. He should probably eat something, he thinks absently as the familiar sensation of anger and despair churns in his gut.

‘C’mon Stevie. You gotta get off this campus every once in a while. An art degree doesn’t merit you turning yourself into a hermit.”

Steve gets off the couch without answering. Grabs a bowl and a pack of instant noodles to make for himself. Bucky shakes his head when he offers; he’s almost as stubborn as Steve (but considerably better fed), and he’s determined to get his way.

Bucky’s right of course. He has no real reason not to go out tonight. Classes are only in the late afternoon tomorrow, and Steve would have just stayed up til midnight watching Netflix elsewise. He’s just… not had the energy to go further than the college grounds in the last few months, save for the occasional trips to the convenience store down the road for essentials. Winters are always bad for Steve, but this one feels especially awful. Whatever doesn’t hurt feels like it’s about to, and what art he does produce is definitely feeling the pinch of it. Bucky tries to help- tries to get him out and about- but Steve’s bailed on him so many times he can hardly count them all (or find the energy to do so in the first place). Honestly it’s a surprise Bucky’s even bothered to stick around.

“You’ll love it,” Bucky promises as Steve pours boiling water over his meal, “This guy’s voice, man… it’s better than sex.”

Steve snorts, “Not had the best of sex lives, have you Buck?”

He easily dodges the book thrown his way and laughs as it hits the mini-fridge with a dull thunk.

“Laugh it up, punk. When’s the last time you even got laid?”

Steve grimaces. A long, long time is the answer to that, and he can’t for the life of him think of a remark glib enough to deflect from that fact.

Bucky huffs- he already knows the answer too- and flops onto his back on Steve’s bed, “You’ll enjoy it Steve. It’s a Wednesday- not even like there’s gonna be that many people around. You don’t even have to mingle in the crowd! You know what Shield’s like; there’s plenty of tables and booths to hide yourself in, if you really want.”

Steve scowls at him, “I am not that bad.”

“Mm, but you’re close.” He turns onto his side. He’s got his Serious Face on, “You know you can talk to me, right? Whatever’s been eating at you, you don’t gotta keep it under wraps all the time. I’m here for you… I love you, man.”

Steve drains the water on his noodles. He says nothing about the letters he writes- to himself, to Bucky, to his mother or the world at large. Says nothing about the countless artworks hidden under his bed, angrier and darker and uglier than anything his friends are used to.

“I know,” he says instead. He stirs the shitty seasonings into his noodles. Bucky sighs heavily.

“Please come,” he says finally, “it’ll just be a nice, sedate night with Nat and Barton. You can just chill and listen to the music.”

Steve makes a show of thinking about it, but he already knows he’s going to say yes. Shitty winter or not, Bucky deserves a better friend that Steve’s been for a while now, and he wasn’t going to get anything done by just moping around in his dorm room.

“Fine,” he murmurs eventually, sitting down beside the mini-fridge, “but you’re buying the first drinks.”

Bucky’s smile is bright enough that it’s worth leaving the campus just for that.

………………………………………

Natasha, when she meets them outside the jazz bar, is as stunning as ever. She smiles at them warmly and pulls Steve into a hug with more fondness in her strong, sure touch than he probably deserves.

“It’s good to see you,” she murmurs in his ear, “I’m glad Bucky convinced you to come out tonight.” She pulls away to address the both of them, “Clint’s already inside. He saved us a table.”

Bucky grins. “Aces.”

Natasha offers Steve the crook of her arm, an artful brow raised in challenge. Steve rolls his eyes, but takes it anyway (never let it be said that Natasha never got her way). They follow behind Bucky, who’s all but vibrating with energy. Wilson must be good- it’s been a while since Steve’s seen him this excited for anyone.

The interior of the bar is exactly like Steve remembers- dimly lit, with dark furnishings and red leather stools, the exposed brick walls minimally decorated with black and white photographs and the odd framed poster. A permanent haze sits over the place, as though shrouded in cigarette smoke- though Steve knows smoking has been banned here for years. It’s more crowded than Steve was promised. Most tables and high seated stools are filled. This Wilson guy must be really good.

Natasha drags him over to one of the table’s right up the front that Clint has by some miracle obtained. Bucky disappears with mentions of getting them some drinks, and Clint bumps him after he gets settled on one of the spare stools, “Good to see you man! How’s college?”

Steve gives him a smile that he hopes is more genuine that it feels, “College is good. Last semester’s been pretty hectic- who knew a gallery opening would be so much work, right?”

Steve’s the last one at college now. He’d taken a semester off to work and take care of his mom just over a year ago. Then he’d gotten sick not long after she’d passed and that was another semester down the drain. Now he’s stuck in classes with people he doesn’t know, feeling old and out of place despite it not being the case at all.

Clint hums and gives him a crooked smile, “When’s the opening?”

“Next month,” Steve catches sight of Bucky, leaning against the bar and chatting with the bartender as though he owned the place, “I can get a hold of some tickets for the open night if you’d like.”

“Yes please,” Natasha purrs. Bucky returns, three beers and a coke gathered carefully between his hands. Some kind of stow-toned guitar music plays through the speakers- dark and sedate. It drags and reverberates through the air like some kind of sinister prowling predator, and Steve lets himself focus on the music and the steady chatter between his friends while he waits for the actual music to start.

A man hops up onto the stage at some point- several others trail in as he fiddles with the microphone over the piano. Bucky elbows him in the side and motions at the guy with his head, “That’s him!” and bless him, but he sounds so excited. Bucky adores Jazz.

Natasha smirks, “I know him, by the way.”

Bucky’s grin grows wider, “Yeah?”

“We work at the shelter together on Sundays. He’s a counsellor at the youth center.”

Steve nods absently as Natasha espouses his various qualities to Bucky. His eyes are drawn to Wilson working through his sound check; under the yellow lights is skin is like honey and chocolate. Steve likes the upturned corners of his mouth, like he’s constantly battling with a smile.  His voice over the mics is warm and lively and there’s a confidence and energy to his movements that Steve can’t help but admire; he wants to paint him in the scene, relaxed and at ease under the lights of the stage.

The club grows quieter and quieter, people waiting with anticipation for the band to start. The conversation between Bucky and Natasha peters off when the man finally settles at the grand piano. His cufflinks glint as his shakes himself out.

“Evening everyone,” he says, the hints of a smile at his lips turning into a friendly smirk easily enough, “hope Wednesday’s been treating you well enough. We’re Redwing Etcetera- it’s nice to be here again.” The other men in his group wave, and settle down with their own instruments, “We’re gonna start with a lively one to get the ball rolling, and then we’ll see where that takes us.”

Polite clapping fills the club and the music starts- a bright jazzy number that Steve vaguely recognises from Bucky’s collection.

And then Wilson opens his mouth and sings.

And yeah.

Yeah okay. Steve can see why Bucky likes him so much.

Rich and mellow, his voice rumbles through Steve’s empty chest, striking at something in his bones and he forgets about his woes, forgets about the anger and the depression and his stupid, useless body. His range is glorious and Steve never wants the song to end.

But like all good things, it does, and just as quickly as it came Steve loses that little piece of something to the applause. Bucky whistles loudly and Wilson grins over at them and winks.

Steve’s heart almost exits straight through his ribcage.

When the applause dies down again, the singer bends back into the microphone, “Glad you all like that- woulda been real awkward had you not.”

On the other side of their Table, Natasha rolls her eyes and shakes her head.

“This next one’s one of my own creations,” his voice turns somber, “I wrote this for a close friend of mine in a time of great need.”

The music starts; some slow piece with trumpet and piano and the faintest whiff of a snare drum and bass guitar. And Steve waits. Waits with bated breath even as the music pulls the emotions from him- all the feelings he’s been bottling away in himself, in his art and the letters he writes to his mother- out of reach now. When the words finally come, it’s almost like a surprise, and they catch him off guard.

You turned your back from us. My wingman, my friend I watched your colours fade to grey.

But I know you tried. You hid so well…

And-

God.

But this song is breaking him. The dragged out vocals, the sincerity and the sorrow, tinted with a subtle anger- why did you not say-  Steve’s sure he’s crying, but when he touches his cheeks they’re dry. He swallows back his emotions and wishes this would just. End. His face feels hot and tight- feverish. It’s as though this song was written about Steve. As though this Sam Wilson had read the letters he’d written and burnt- brother you smile, my skin don’t feel like mine- seen the art he’d hidden from Bucky and now he’s brought it out- strung it out for all these people in the club to laugh and stare at.

He brings his glass of coke to his mouth and silently wishes for it to just. Stop.

You turned the lock on more than just that door.”

Steve is fairly sure he’s in love.

We will all just fade someday…”

Ten Percent

After writing my post on Lucy I had a number of people message me, saying I had made them want to go see it. Every time, they said they were initially turned off by the inaccurate “we only use 10% of our brain” idea the film was built around. 

This surprised me, since - no offense to the people in question - they were all people who read a comic I write about a cat person.

I mean, on some level I guess you could claim it is different. We accept that feline humanoids are fictitious, whereas “we only use 10% of our brain” is something people commonly take as fact. It’s a piece of misinformation we fight against. At the same time, though, we probably would not bat an eyelash at a story built off the equally-inaccurate premise that a disproportionate amount of ships vanish in the Bermuda Triangle. What’s the difference here that makes us accept cat people, magic, and mysterious triangles as elements of worldbuilding, whereas we would dismiss “10% of your brain” as a detrimental inaccuracy?

My interpretation is this: as writers, we are are conditioned to favor things that are either realistic or cliche.

Think about it for a moment: we accept cliche. Cat people are okay. Ghosts are an established thing that can be in stories. Wizards who can throw magical spells? A katana-wielding hero who can cut through much more advanced weaponry. These are all unrealistic, but they are also so common that we accept them as an element of worldbuilding rather than a misleading error. Some people actually believe in ghosts, or believe that a katana is more than a shitty sword developed on an island with a limited metal supply, but as long as we establish there are ghosts in a setting and katanas are awesome, no one will take it poorly. 

At the same time, we accept realism. If that katana quickly gets dinged up and useless, we can accept that as a valid thing. With writers and critics in particular, we revel in these moments to show our understanding of reality. I got a lot of compliments for the scene in Prequel where Katia uses a club, since people versed in medieval weaponry recognized I had put more research into it than the traditional “swing through your target, like you’re chopping wood”. I get a lot of compliments on how I portray a character with low self-esteem, too. People generally like realism at least as much as they like seeing their favorite cliches reused and transformed.

Most writers, however, forget about the third element of fiction that largely contributes to its quality: actual fantastical elements rooted in neither cliche nor realism.

One of the reasons I think the My Little Pony reboot has been so successful is because it gets this. It plays up a mix of all three elements: cliche, realism, and fantasy. While the setting has the traditional “cliche” fantasy elements like unicorns, dragons, and gryphons, it indiscriminately mixes in other, less-cliche folklore which we are just supposed to accept as true to the setting. 

The sun and moon are equal forces, and they move through the sky while the earth remains still. Clouds are solid and fluffy, and can serve as the foundation for entire cities. Rainbows are a physical liquid that pours out of clouds. This isn’t all a cover for some grim setting where false gods take credit for natural forces, or the cloud cities are secretly supported by anti-grav tech, or anything like that. These things are just how the setting works. Childish and archaic ideas are developed into actual laws of nature. 

Compare this to the route most modern fantasy takes: typically, we try to make our settings more original by merging them with realism. We don’t have a vague, incomprehensible magic force, we have tiny telepathic microorganisms in all living things. Our elves aren't immortal, they’re just humans who evolved to have slightly longer lifespans and ears. Our dragons don’t breathe fire, they vomit flammable fluid. Rather than building our setting around fantastical untruths, we just aim for a new middleground between realism and cliche. 

It’s time for the obligatory Elder Scrolls mention: Morrowind. Above is the first time (at least outside the randomly generated Arena) that the province of Morrowind was shown. Its portrayal was foreign, otherworldly, and incomprehensible. The characters used strange magic, spoke an incomprehensible language, and rode giant insects. Cyrus is hired to free some slaves. 

The actual game set in Morrowind tends to be very fondly remembered by a lot of people, and I think it’s because it gets that same thing I praise My Little Pony for. It understands that the appeal of fantasy is not just a balance between cliche and realism; that fantasy is more than “Lord of the Rings, but”. We are shown a foreign land with living gods and legalized assassination and incomprehensible magical diseases. These things stand outside the conventionally accepted cliches, but like cities in the clouds we accept them as an element of the setting and eagerly explore the ramifications and wonder they bring. We spend an hour talking to Vivec about his godhood, rather than telling him how impossible it all seems. 

I wanted to find a picture of Vivec riding Princess Celestia, but surprisingly, I couldn’t. I felt this was important enough to take shit into my own hands.

Anyway, the strangest part of this all is that, in general, viewers do seem to like the fantastical. They want to explore those cloud cities, speak to those gods, contract those assassins and swim in those rainbows. We, as creators, are the ones who avoid it. If we can’t defend something as a cliche or a genre trope, we defend it as being realistic. If we can’t defend something as being realistic, we defend it as being an accepted cliche. The viewers, though, don't want us to defend. They want us to create, to build an internally-consistent world full of weird shit that they have to take for granted. They don’t need to know why we have elves or what keeps those cloud cities up, they just want to see a story that assumes such things are

The average moviegoer is not going to care that Lucy revolves around the “humans only use 10% of their brain” myth. If you are a creator and the inaccuracy of the 10% thing was a turnoff for you, that doesn’t make you more sophisticated than the average viewer - it just means you are being less creative. The writer of Lucy probably knew the 10% thing was wrong, but they built it into themes of locked potential and the capabilities of mankind, and by extension avoided overdone, cliche setups like Lucy being a military experiment or cybernetically enhanced. 10% was their cloud city, and it’s what made the story work. 

I don’t mean to criticize people who write realistic stories or nonfiction, or who are secure and happy writing their grimdark fantasy. Rather, I want to point out that there is an allure to the fantastical that creators are kind of conditioned to deny. Our creativity is hampered by this persistent force - predominantly from other creators - telling us to explain off our all our story elements as either realism or tradition. You don’t have to do that, and a lot of great ideas might be lost if you do. 

In short: remember that your setting’s one obligation is to remain internally consistent. It can abide by reality, it can abide by cliches, it can abide by both or it can abide by neither, but as long as it plays by its own rules it won’t matter. 

Keep reading