they put so much detail into how it reflects on the characters

Devil in the Details

So after Michael Chu confirmed that the details on the tv in the background of the Pharah panel in Reflections were not only deliberate but also meant to hint about her location and her father’s nationality -

This tinyass image -

On a page with this much other stuff -

It made me curious about any other potential details I previously overlooked or wrote off as “just a funny coincidence” and rather surprisingly, I might have kinda found something??

I mean, there’s a shitton here but what I originally wrote off as being “just another background piece” is the map -

…These are not Watchpoints.

These are the Watchpoints that still exist at the time of Recall - you can find this map on Watchpoint: Gibraltar (I did not write these locations, but this is the clearest, head-on image I could find.)

The image from the Uprising comic 

Are active missions or points of interest.

Locations that I can determine are:

  • Tokyo, Japan
  • Cairo, Egypt (based on the other screen discussing the “Cairo Incident”)
  • Numbani, Nigeria
  • (City unknown), Switzerland (?)
  • Paris, France
  • Rio de Janeiro, Brazil
  • Dorado, Mexico
  • Seattle, United States

More under the cut

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Say It (Jungkook/Reader)

Originally posted by sugutie

Genre: Smut - Inspired by a fic written by Admin JP + Say It by Tory Lanez.

Words: 7.2K+

Author: Admin Kaycie

Summary: Honesty was a trait you had always prided yourself in being strong in possession of, something your friends and fans all admired you for; so the day you announced you did not like Jeon Jungkook, they knew your words were true.

Tags: Dance room rendezvous, slow and sensual sex against the dance studio mirror wall, etc. 

Keep reading

Some thoughts on Jensen and Destiel and Dean’s bisexuality (with a bit of Misha thrown in)

Q: How come Dean’s allowed to have a crush on Dr. Sexy MD, and yet Destiel and his bisexuality aren’t canon?


Jensen Ackles, when asked a question posed to him by fans clearly wanting to piss him off, because the question is on a topic he has explicitly stated he does not want to engage with, denies Destiel, but stays clear of denying Dean’s bisexuality. 

Funny. I mean, not funny hah-hah, more like funny intriguing.

I don’t know about you, but to me it’s clear how a will-they-won’t-they love story that’s been built for going on a decade would probably suffer from both actors involved in it confirming it.

Misha started out talking rather openly about how Destiel is an intentional part of the narrative - almost going so far as to get pissy about how this was even a question, if rumours are to be believed - then less openly, until he, as early as last year, was scuttling around the Destiel question like it was on fire. Why? I would venture a complete guess and say that it’s most likely to do with all the negativity thrown his way whenever he’s engaged with it, accusations of queerbaiting flying at him and the show, when this couldn’t be farther away from what they’ve actually been doing all these years, delivering a narrative the likes of which has never been seen on television before.

So, yeah, Misha started out really not getting why he’d have to lie or skirt the topic of there being a M/M love story built on SPN (because I think he thought that’s a bullshit approach and why shouldn’t they be open about them being pro LGBTQ etc) but has grown to realise that he can’t confirm shit because:

a) he contractually can’t discuss any details of what that confirmation actually means for the characters or the show 

b) being vaguely confirmative on the topic only causes severe upset among the fandom and he doesn’t want to be responsible for it

(that’s ^^^ from Dec 2016 btw) (part of this fantastic onset interview)

So Misha will tease in his own sadistic little way, of course, but he appears to have grown to take this stuff pretty seriously, by the looks of his changed attitude over the years. In the later years either he’ll flat out state that he knows the Destiel question causes upset and so he steers clear of it, or he’ll just generally avoid answering the question, talking circles around it and then finding an excuse to get the hell off the stage, for good reason. 

All this while the above, often only half-quoted, panel moment of Jensen’s is delivered by an actor who is portraying a bisexual character and, I wouldn’t be surprised, wishes he could come out and say it loud and proud, but can’t, because it would effectively ruin Dean’s finely crafted character journey for the audience. Jensen confirming Dean’s bisexuality would put a serious dampener on the revelation to the GA that the whole point of SPN is the deconstruction of the Masculine Ideal, the Cowboy, the Manly Man’s Man.

Why would it put a dampener? Because how do you change an idea? How do you make an argument against something that is deeply ingrained in the mindset of millions of people? You start out by agreeing, by enforcing that idea, by going to great lengths to create a world reflecting that idea - only to slowly move away from that idea (or go genitals on full display, either way works) because the idea you actually want to reinforce is the opposite of what has been so deeply ingrained. 

Simply put, SPN was never about glorifying the Male Hero or the Masculine Stereotype, it was always about pointing out how we are not our gender, our sexuality, our race, our age, our cultural heritage, our body type - we are all people first. And we do not judge others and we are not ourselves judged by this bullcrap for any other reason than the societal norm dictating to us what we should find acceptable, and us accepting being dictated to. SPN is about freedom from this preconceived notion that anyone can tell us who to be, it’s about self-liberation. 

Aka no one can tell you who you are, you’re born with the ability to make that choice for yourself - and it isn’t who you are, but what you do, that defines you.

By making Dean Winchester a strong, badass, kick-the-door-down-to-save-a-life hero with many, many softer sides to him that makes him human and relatable, the SPN writers and Jensen himself have given us someone who can call bullshit on the hypocrisy of loving him only if he is straight and fits with what the norm has labeled acceptable masculine behaviour. 

When Dean and Cas get together it’s going to blow such a big fucking hole in that argument because Dean will still be Dean - he will still be exactly the same amount of strong, badass, kick-the-door-down-to-save-a-life hero that he’s always been: he just happens to also have a lot of softness to him that he’s gotten very good at suppressing, and he just happens not be straight. 

Because he is bi. And he is in love with a man.

In January of this year, as the panel at the top of this post is being held, Jensen does what he can to avoid straight up lying about his own portrayal of Dean Winchester, and I’d venture another guess and say he does it because he loves Dean, he knows Dean, he fucking lives Dean, and Dean knows he’s bi. Meaning what? Meaning Jensen likes this fire stoked, perhaps? This reading of Dean having a crush on Dr. Sexy. Because people seeing bi!Dean means that Jensen’s choices as an actor are actually shining through. 

As far as Jensen actually being “uncomfortable” with the Destiel question goes ————————>

Does not look all that uncomfortable teasing Dean and Cas to me, at least not in the context of being relaxed and flirtatious with his costar and friend on stage. I mean, the last of these gifs is from JiB8. Held in May of this year. Six months after the dismissal of the Destiel question. Could there be a reason for these conflicting impressions of how Jensen handles Destiel overall? Hmmmm.

Jensen Ackles is a professional actor - the whole “he relates too much to Dean and this subtly implies that he is such a homophobic human being that he would never be ok with Dean being anything but straight” argument needs to be dropped to the bottom of the deepest darkest ocean and forgotten for all eternity. (please with a thank you on the side) 

And, sure, it’s easy to blow the “just to stoke that fire a little bit” comment off as a joke (made at a panel where he’s in the middle of debunking the Destiel as even remotely viable……..) but at the end of the day… 

Well, I say day - of course I mean series.

There will be such lovely blues and purples and pinks, my lovelies! All the way.

Part 2: Task: 12 Days of lesser known animated show/film recommendations

Hey, guys! I’ve been a bit down lately, so in order to give myself something to do, I decided to share with you all the lesser known, underrated or entirely hidden gems of the animated world (as far as I know), be it show or film.


-The animation must be traditional (no CGI unless it’s minor and in the background; i’ll do an all CGI list later).

-The recommended work must have soothing, inspiring or otherwise admirable leads with realistic emotional connections.

-The plot of the story must be intriguing if not wholly believable and the artwork must meet certain aesthetic standards.

-The characters must have emotionally realistic interactions with one another in ratio to the time allowed for them to interact.

-The animation in question may be from anywhere in the world.

Also, feel free to clue me in on any that I don’t list, because I would really appreciate a new animated find!  

As a matter of course, a great deal of the listed shows/films will be ‘anime’, simply because japanimation has the monopoly on the most unique and varied story lines, and Japan (and sometimes France) are the only ones making mostly traditionally drawn animated features still.

Alright, here we go … …

Day Two: Fairy Tale Films :)

The Day of the Crows

I absolutely adore this film. Not only is The Day of the Crows a superbly animated feast for the eyes, but the characters, lessons and honest interactions take it a level above most children’s films. Not only that, but the dialogue is wonderfully translated from the French to the English subtitles. As a matter of course, I prefer watching films in their original language unless the dub has some inventive dialogue or more adequate voice acting, but this little known gem isn’t likely to pick up a dub any time soon anyway, so all of you who only watch dubs should make an exception for this one. 

It is the story of a young boy who has been raised by an ogre in the woods, until one day he must leave the protection of the trees for the nearby village in order to save someone precious to him. While there, he meets a young girl and begins to learn the touching history of his family. It’s a delightfully nuanced film. Really, don’t miss it!

Note: The title is mildly misleading, as any crow characters are showcased near the end of the film and don’t get much screen time. But why should that bother anyone?


Fusé: Teppō Musume no Torimonochō 

Is there any anime lover who would pass up a film with adorable characters and animal transformations? Well, I actually would pass up the ‘animal transformations’ part, but that may just be me. Fusé is a touching fairy tale centring around a young huntress who befriends a dog-like humanoid named Shino. What puts this movie a pitch above the other films out there with a similar premise is it’s refusal to give the characters more slack than any real person would get. People die…there’s a surprising amount of gore which I feel is somehow toned up despite the soft animation. It’s the sort of film that makes you laugh less because it’s funny and more because you know your window to find things humorous is rapidly disappearing. You want the characters to be happy….you think they should be because the film is so cute…but it’s the bitter-sweet trick of the story. 

It’s based on the Hakkenden, an old Japanese novel series that details the exploits of the ‘Dog Warriors’, beings reincarnated from the slaughtered spawn of a princess and her dog lover. This is part of why I can forgive the dog-creature theme, because the characters within the story on a few separate occasions refer to the story as a ‘counterfeit’ or parody of the Hakkenden


Snow Maiden

An old Russian animation about a young woman who is the child of Spring and Winter, stepping into a village for the first time and learning that she does not have the capacity to love as other humans do. It’s very touching, very whimsical, and in the end bitter-sweet. I’d recommend it for the beautiful artwork alone, but the characters are given a surprising amount of life considering how old the film is. It’s clearly a labour of love.


The Dead Princess and the Seven Knights

An old Russian film based on Snow White and the Seven Dwarfs. The most fantastic thing about this film is that from start to finish the entirety of the script is one looong poem, complete with rhymes. I believe this film, Snow Maiden and The Twelve Months are all apart of the same collection, but these three are not dubbed into English, like some of the better known in the series, such as The Snow Queen. 


The Twelve Months

If you are familiar with this film, it may be because you’ve watched the anime incarnation. I’d advise you to watch this one instead. Not only are the characters a bit more vital, but the art is a step above the anime and the humour is a bit more fluid. It is a Cinderella-like tale about a girl who wanders into the woods after being forced to preform an impossible task, and receives guidance from the Twelve Months, who are portrayed as a band of merry males of various ages having a meeting around a camp fire in the dead of winter.


Kirikou and the Sorceress

Kirikou and the Sorceress is a fascinating film about a young boy who, from the moment he is born, is able to talk and think like an adult. But he is still only a baby, and is very small because of it, which causes troubles between him and the towns people, and eventually gets the attention of a wicked sorceress that finds him a nuisance as he starts to use his size for unusual heroic feats. 

Every character is fun, the dialogue is insightful and the resolution is terribly sweet.


Tales of the Night

A series of re-worked fairy tales told through ‘shadow puppet’ visuals. Beautiful stories, really. All of the interactions between the characters are unique and admirable, and every tale has a satisfying conclusion. You may think the shadow puppet look takes away from it, but, really, it only gives you a bit more emotion to savour since every character looks pretty much the same, allowing their intentions to nakedly drive the stories, rather than their looks.


The Last Unicorn

Based on the book of the same name, and with a screen play by the author, this film is one of the better known ‘hidden gems’. The story follows the ‘last unicorn’, as she searches for others of her kind, who are being held captive in a barren land that is very far away from her gentle forest. She gathers loyal and endearing companions along the way, and eventually looses a bit of herself in the throws of a pseudo-romance with a prince. 

It’s a classic. The animation is unique and whimsical, and the pacing, characters and eventual resolution are all wonderful. It was my favourite film as a child.


The Princess and the Pilot

The Princess and the Pilot is a touching tale about the blooming tenderness and self-awareness between a pilot and the princess he is tasked with transporting across the ocean. There is political intrigue, bold decisions and the rude awakenings of reality in a war torn country. Both the leads are relatable and worth the care you inevitably develop toward them. And though the ending is a little frustrating, it is handled in a realistic and tentative manner that shows the meaning of personal feelings, even if physical circumstances can’t reflect them.


Miss Hokusai

Miss Hokusai is the fictional and slightly sensationalised biography of an actual historical figure from the Japanese artistic past. The story is told in a series of self-contained artistic episodes that explore the philosophy needed to produce vital art, by teaching the characters emotional lessons through supernatural interactions. It’s very unique and telling, and every character has a degree of believably that is pleasantly attention grabbing. Some might complain that the formatting leaves a bit to be desired, but I’m pretty sure this is all intentional. 


Princess Arete

Princess Arete is one of those rare princess films that is all about a princess and her character building, and not at all about romance. 

Little Princess Arete is kept in a tower where she grows increasingly depressed, despite her night time slips into the town bellow her window. By a bitter sort of luck, she is kidnapped by a wizard, and from here able to experience the world, albeit under a curse. The film has a very charmed and truthful grasp on the meanings in minor interactions and it never betrays the passionate heart of it’s female lead.

It’s a bit slow, but if you watch movies for the enrichment they provide and not for the face paced thrills, this one may be for you.


Magic Boy

An old Japanese feature from the ‘60′s about a young boy who must do battle with a wicked witch to protect his home and family. The characters are enjoyable, the battles are pretty neat and the animation is a proto-perfect anime film suite. Honestly, if you’ve seen Kubo and the Two Strings and then you see this, you may feel, as I have, that it is like the spiritual grandfather to Kubo


The Life of Guskou Budori

If you’ve ever seen Night on the Galactic Railroad, these two may look familiar to you. As you watch Guskou, you may develop the suspicion that the characters are an alternate incarnation or perhaps even a canon reincarnation of Giovanni and Campanella. 

The Life of Guskou Budori is about said titular character as he navigates life after the death (otherworldly kidnapping?) of his younger sister during a great famine. The animation is simply gorgeous, and if you can forgive the incredibly vague narrative, you may just find yourself walking along a very enchanted dream.

Like Galactic Railroad, all of the characters are anthropomorphised cats. I’m unsure why that is, but it’s cute and inventive. It too, is based on a book. If you haven’t seen Night on the Galactic Railroad, I would also recommend that one, as it is very touching and poetic, but it is very slow. If you happen to like both of them, the anime Spring and Chaos, another anthropomorphic cat tale, may be for you, as it is about the guy who wrote the two aforementioned stories.


Tales from Earthsea

If you are a studio Ghibli fan, you may be in for a treat. This is a loose adaptation of Ursula K. LeGuin’s seminal work the Earthsea series. It wraps into one film the characters and issues of four books, and so it doesn’t do the books much justice as it has bit off a bit more than it can chew. But if you accept it as an entirely different story that happens to have similar magical rules and the same names as the Earthsea series character’s have, the film is quite good. 

Young Arren is a disturbed young man who runs away from his posh life and is picked up by the Arch-mage Ged. After making a special friend and fighting a deranged wizard, Arren learns how to own up to his fears and find peace despite his crimes. I recommend watching the original Japanese dub, as it is a bit more insightful about the Earthsea world.

It is directed by Miyazaki’s son Goro. If you like this film, you may like his other, more well rounded film From Up On Poppy Hill (my favourite Ghibli film), and Miyazaki’s Howl’s Moving Castle, which is an adaptation of Diana Wynne Jones’s book of the same name (and a far more skillfully crafted adaptation than Tales from Earthsea. The perks of being a seasoned animator, I guess).

If you like the films, or even if you don’t, I recommend reading the Earthsea series and the Howl’s Moving Castle series. I prefer the latter. 

A by itself, B-/C+ if compared to the books.

Fire and Ice

Fire and Ice is one of those barbarian films from the early 80′s. It’s got action and romance and wild prehistoric beasts, an obvious bad guy that’s still pretty well rounded despite his minor screen time and a bit of sorcery that you can laugh at if your mind is dirty enough to catch the innuendos. In a nutshell, Fire and Ice is a great late night blast from the past that every child of the 90′s should see at least once.

With art overseen by the legendary Frank Frazetta, I think any serious artist could find this film pretty rad as well. 


The Cat Returns

The Cat Returns is a fascinating continuum of Shizuku’s story from Whisper of the Heart (another Ghibli film). It’s a fairy tale to the max, complete with a dapper cat ‘prince’ and woefully silly damsel-in-distress. It’s a lesser known Ghibli film, which is why it’s on the list, and if you do watch it, I recommend pairing it with Whisper of the Heart, a high school drama about a young girl’s blossoming romance and her attempt to write a novel, since it’s only right to see the little strings that connect the two tales. 

It’s funny, charming and the Baron has a British accent ;) Mmm-mm delish!



Whew! What a long list!

Next time: Best Comedy Supernatural animated shows/films.

Character Update: Yellow Diamond

Quite a while back, I wrote about Yellow Diamond, and my intent was to present the character I saw in totality. Even now, when I talk about the Diamonds and how they read strongly as characters with motives and feelings beyond just hurting others because they can, I feel like for the most part, I’m addressing questions about Yellow Diamond in particular.

Yellow Diamond is a character easy to picture as an irredeemable antagonist. Like Jasper and Aquamarine, she walks with an air of authority and certainty about her. A lot of people take her character as one who hasn’t shown any explicit self-doubt or weakness. It wasn’t long ago that The Answer aired and there was a lot of positive feedback because we got to see a “vulnerable” Garnet.

When I hear this sort of characterisation, I think back to these characters. While it is a very humanising experience to see a character previously presented as a bastion of unshakable strength question themselves and show a “fatal flaw” or weakness, it’s not the only way to present a relatable, dynamic character. To situate this in our world, it’s very rare that people choose to show their inadequacies in the first place. In fact, it is far more common for people to do everything in their power not to reveal vulnerability.

Yellow Diamond is a very complex character precisely because she shows indication of presenting herself as much more put together than she lets on. And, as usually happens in real-life as well, it’s not only for others’ sake but also for her own. In her, we see a character brutally honest, suffering neither formality nor trivialities for the sake of it. To view her consistently would be taking her actions into that context, and using that to understand where she stands on PD’s shattering. That’s something I want to talk about in this post.

So let’s get started.

1. Yellow’s relationship with feelings is complicated

I’d like to begin by talking about YD as a chest gem. Like Blue Diamond and other chest gems, she tends to interact with the world in terms of feelings. Remarkable moments in her life are likely best remembered by what she was feeling at the time they happened, and her first impressions are probably marked by how she felt about certain individuals, places, or things.

I think this is most evident in how she feels about Earth. In the past I’d talked about how Peridot was presenting a solution to Homeworld’s resource shortage in Message Received. What we’d learned at that point was that Homeworld was running out of resources, so much so that Gems couldn’t be made as physically strong or with the same abilities as they were supposed to be.

Upon closer inspection, it’s because the very means Homeworld uses in order to advance its species is inherently parasitic. They drain planets and have no means to replenish these resources. What Peridot claimed to find, after † a deeper appreciation for organic life, was a way to make use of Earth without damaging said life. And that’s a game-changing discovery, because the only way for that to happen would be a renewable or sustainable means of using a planet.

Peridot had expected Yellow Diamond to see the reason and logic of her plan, to be just as excited about saving Earth as she was because it meant helping all Gems. That was YD’s reputation. Recall that at this point, it was not that Peridot turned her back on Homeworld because she realised Earth was a better place to live. She realised that Earth was worth protecting, but she thought the Crystal Gems were unable to meet their own goals. That’s why she reached out to the most powerful, rational, objective being she could think of, Yellow Diamond, to help her reach that goal.

Peridot was sorely disappointed by that encounter. She realised her hero wasn’t perfect, but I wouldn’t say she wished for the destruction of Homeworld. I doubt that her take-away from that was that all Homeworld gems were evil. There was a time she’d worked with them, lived with them, learned from them. On her way to destroy the Cluster, the weapon of mass destruction about to shatter the planet she was currently living on, put there by Homeworld, she said it was difficult not to have feelings about Homeworld.

And I think that’s something to understand about the Homeworld defectors we’ve seen so far. Earth was a better option for them, but Homeworld would always be home. For the most part, those who chose to leave still imagine a better life for their fellow-Gems back home, but found no way to give them that life without leaving Homeworld altogether.

What this leads up to is the idea that all these Gems have strong feelings associated with Homeworld, and now Earth. But on different occasions, they put aside these feelings because they felt something better could be realised. Rose put aside her sentimental feelings of never being able to go “home” because she wanted to give the Crystal Gems the freedom they currently experience on Earth, and she wanted to protect the life that was already thriving there. Steven, more than once, has sacrificed the fear he felt and let himself be placed in dangerous situations for the sake of protecting others.

The other thing that I want to point out here is how we were led to believe Peridot was going to sell out Earth to Homeworld. We don’t get a lengthy monologue about how she feels or her plan. She just goes through with it and we feel a sense of betrayal, like the gems did. That she was thinking up a solution and pitched it to her Diamond shows that she didn’t just realise Earth’s life had value halfway through the conversation. It was her objective assessment from earlier on. Unlike most short-format shows though, these changes in characters aren’t exaggerated, and more closely reflect the interiority we experience in life.

On the one hand, we have someone like Blue Diamond, who has let the feelings of both sadness and regret take over her ability to act. BD is angry and upset with Earth. She cannot fathom how such a weak and fragile planet was able to shatter a Diamond. The wounds are raw enough that when Steven was unable to give the detail about the sword in The Trial, she uncontrollably used her gem ability on the court.

On the other, we have someone like Yellow Diamond, who has had to run everything in her stead as well as maintain her own duties, and those of Pink Diamond, and deny those feelings day in and day out. Peridot called her the paragon of objectivity and reason. Peridot, who prides sound logic above all else when making a decision, put her faith in YD.

And YD couldn’t put aside her feelings about Earth, and the anger she and BD both felt about a planet that destroyed their friend and comrade, to listen to a plan with the potential to save Gem-kind.

That’s something I need to stress because it speaks of the depth of the wound inflicted by the war. More than that, it paints a more realistic image of YD. YD is someone trying to be the perfectly objective and emotionless leader, and most of the time she succeeds. She is the person she wants to be often enough that it’s become her reputation. That doesn’t mean the feelings go away. The irony of her being a feeling-gem is not lost here.

2. To YD, Leading is a “job” not a privilege

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I Though I Was Coming With a Flu [edited]

Characters/Pairing: Dean x Fem!Reader, Sam, Dr. Blaze (OC)

word count: 2k

Warnings: Bit of angst, fluff, lots of it, unexpected pregnancy!!!

A/N: This is and old story among the firsts pices of SPN fanfiction I ever wrote and posted on Tumblr. Since my brain haven’t been helpful with me and the new stories I have in mind I decided to edit this one. I was about to change the ending a bit, but fuck it. I like it, even if it is dull… Oh, and I’m tagging people.

Anyways this is prompt: ‘The reader was told she was infertile by her doctor a long time ago. She finds out he was wrong when she realizes she’s pregnant… with Dean’s baby.    From “60+ Dean x Pregnant!reader Prompts” that I don’t remember who it was from because I deleted the original post, so sorry!! 

[Feedback is awesome]

Originally posted by out-in-the-open

I Thought I Was Coming With a Flu

The cold water felt wonderful against your hot, flushed face, soothing the feverish sensation. You delicately patted the droplets off of your sensitive skin with a soft fluffy towel. Observing in detail your reflection in the mirror, you didn’t recognize the person looking back at you anymore.

Dark circles around your eyes,cheeks shrunk to half it’s normal size- displaying the cheekbones through thin, pale skin - It’s been, what two, three weeks since you started to feel sick… you didn’t keep count anymore. Your neck looked longer and thinner, not to mention that you’d lost at least 20 lb and all of your jeans were baggy now, even your sweats started to slide down your hip.

You carded your fingers through your dirty hair, moving  it to the side and contemplated your languid face once more before rinsing your mouth with the last of mouthwash; what was the point on brushing your teeth if you were going to throw up again in like 20 minutes?

You made your way down the hall to the kitchen, stopping once or twice to catch your breath; you couldn’t be off bed for more than a few minutes without feeling like you were going to faint. You finally reached your destination and laid against the doorframe, to regain your composure and were immediately greeted by the worried looks of the Winchester brothers.

“Morning to you too,” you said in a sarcastic tone.

“Hi,” they said in the unison.

“Umm… Hun, you know it’s 5 in the afternoon, right?” Dean was getting up so you could seat on his place, even though there were a lot of empty chairs.

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Yuri on Ice BD audio commentary translation - Volume 4

I absolutely wanted to post this within today because this evening I want to work on the Pash interview with Sayo Yamamoto… This BD volume has lots of choreography footage so that will take a while to translate, and I’m going to give priority to the interview.

This commentary is different from the others because it’s not just Kubo with another person, there’s 4 of them. Luckily enough they don’t really talk over each other (except for one part, lol), but in the second half I translated most of what they say as dialogue because I felt it was more fitting. In the dialogue parts my notes/comments are in brackets.

The commentary is only for episode 7. Episode 8 has no commentary. It’s not a full translation but I summarized most of what they said, and some parts are almost completely translated. Fans of Phichit, Guang-Hong and Leo should definitely read it as it’s a rare chance to get comments from these voice actors. Also, their reactions to the last scene are hilarious, that’s a must read too.

The commentary is by:
-Mitsurou Kubo
-Kenshou Ono (Phichit)
-Yuutarou Honjou (Guang-Hong)
-Shunichi Toki (Leo)

Translation under the cut because it’s long. Enjoy!

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When you say you’re going on hiatus, that means you ramp up your posting massively, right? I was going to leave this by the wayside but I am, lucky for you guys, I’m still too sick to record. 

Plus the Xefros and A.Claire posts are doing really well and frankly winning over the fandom is my best shot at long-term stability and things changed for the better for me in a big way recently, so I have the time to get out a couple more of the things I’ve really wanted to say before I start focusing on video–these will all be useful scripts for me soon anyway.

Let’s talk Jude Harley, who has already given us a likely Class and a definite Aspect. And who knows–maybe he’ll lead us to a bit of prophecy on the threats our heroes will face in Hauntswitch? Maybe, maybe not, but either way it’s clear I was doomed to make this post from the start.

So let’s dive right in, and let’s start with the side of Jude’s title I’m surest about: His affinity for the Aspect of Doom.

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All About Gemini: The Twins


Gemini’s archetype is talkative, curious, and moody; combining to portray the “two-faced” label they’ve been given. The Twins are versatile and intelligent, leading them to delve into philosophical and scientific pursuits.

The third astrological sign of the zodiac, the sun transits through Gemini from 20th May to 21st June, meaning that all people born on or between these dates have The Twins as their Sun sign. Gemini is a mutable sign, which shows that they have a natural affinity to adapt to their surroundings and sympathize with others. Gemini is also a part of the air signs along with Aquarius and Libra.

The ruling planet of Gemini is Mercury, who was the messenger of the Gods in Roman mythology. Mercury represents logic, rationality, thought, and communication; all of which can be seen in Gemini. The Twins are a very reasonable sign, and have an insatiable thirst for knowledge, and take great pleasure in learning new things, which is a direct reflection of their ruling planet. How these traits are expressed varies depending on where Gemini energy is located in one’s chart.

My description will go into further detail on the influences of Sun, Moon, Ascendant, Mercury, Venus, and Mars in Gemini.

Gemini Sun

The Sun sign illustrates a large chunk of one’s character, essentially it is the individual’s core personality traits. The way a friend may describe you can align very well with the traits of your Sun sign. Gemini Suns can be both extremely extroverted and extremely introverted, which usually ends up creating an ambiverted yet sociable person.

These people have the potential to be excessively talkative, and if you’re up for listening they can, and will, talk your ears off. If they are passionate about something, Gemini Sun natives will feel a strong urge to seek out others who share their passions. Due to a need to fit in and be accepted, many people with Sun in Gemini willingly alter portions of their personality to match those they’ve chosen to hang around.

Gemini Suns can be very direct people. They like to have as little complications in their life as possible. As much as they are misunderstood by others, they are just as misunderstood by themselves. These individuals are often very loyal friends, contrary to popular belief/opinion. They can feel underlying urges to flaunt what they have to feel better about themselves, and are unfortunately prone to overthinking due to their fast-paced minds.

Gemini Moon

The Moon sign tells us how someone handles their emotions, how they feel, and their inner self. It can also represent what an individual looks for in their romantic pursuits.

People with their Moon in Gemini, to put it simply, are frustrated by emotion. Since they are so logic-driven in character, they can’t help but attempt to pick apart their feelings with rationality. However, this often leads to immense irritation as emotions cannot be handled with reason. Most emotions are completely irrational; a Gemini Moon’s worst nightmare. Because of this, these people often try and distance themselves from feeling, and become “emotion hermits.”

They have a sort of inner unrest within themselves, and seek different ways to quell it, such as actively seeking out ways to stir up chaos in order to fulfill themselves. This makes Moon in Gemini quite the gossip, and 99% of them have the tea on any and every rumour you can think of. Without social stimulation, Gemini Moons can be susceptible to extreme and overwhelming boredom. If they seem overly clingy or attention-seeking, they are most likely in actual need of communication.

Gemini Moon people can come across as very flirtatious, whether they intend to or not, considering their sometimes overwhelming need to share everything on their mind. However, you’ll likely never have a particularly mundane conversation with someone who has Moon in Gemini simply because of their story-telling ability. They try to seem as if they give no fucks, but it is usually clear to see that they do.

Gemini Rising/Ascendant

The Rising sign, also known as the Ascendant, represents first impressions, physical appearance, and acquaintances. Someone who has just met you will most likely guess your rising sign to be your Sun sign, as it is the general vibe you give off to others.

Gemini Risings are very playful, inquisitive, and extroverted. They are quite adept at making small talk, and are the masters of making “The weather’s nice today” into an interesting conversation starter. They are very confusing, however, because while you may expect them to feel one way, they are more often than not a complete 360 from what was initially expected. People with this placement are highly alert and in-tune to the things happening around them.

In terms of physical appearance, these people may have a baby-face and the eyes of a siren. They are disposed to giving off a childlike vibe due to their curious looks. Very externally charming, the Gemini Rising can be likened to that of a fox: simultaneously intelligent and cunning, with a softer, more innocent and meddling side.

Gemini Mercury

Mercury symbolizes the mind and intellect. It details how one communicates, debates, thinks, and speaks. Gemini is at home in Mercury, and exhibits the most stereotypical Mercury traits, including wit, outstanding intelligence, extroversion, and curiosity. People with this placement go about thinking in a very quick manner, their minds simply cannot shut off no matter how hard the individual may try.

Those with a Gemini Mercury are very engaging, and have a unique ability to draw others into their conversations with their words. They have broad vocabularies and a natural affinity for learning in most areas. Excellent at communicating what they are thinking down to the letter. Their verbal speech matches their thoughts, fast and endless. They often lose others mid-sentence due to the sheer rate at which they blurt information aloud. Are at high risk of rambling.

Gemini Venus

Venus represents sensuality, passion, and how an individual behaves when in love. These people are often more attracted to intelligence then they are physical appearance. They are likely playful people, and much enjoy teasing others. If someone with a Gemini Venus really wants to get to know you, they will. Due to their immense curiosity, they’ll want to know every single detail you have to share. They are genuinely interested people.

Gemini Mars

Mars is associated with sexuality, aggression, and bloodshed. Someone with their Mars in Gemini needs a lot of mental stimulation in sex and in arguments. Because of this, a majority of their arguments become full-fledged debates, which some may prefer to an incoherent volley of insults. Even if the ball is in your court, it will feel as if it is still in the Gemini Mars’ as their rebuttals are just as scathing as their attacks. These people often flip-flop between revenge and total forgiveness, which can be difficult to understand.

Cole’s interview for Boys by Girls Magazine, part 2

(part 1)
Sorry for every mistake and typo! 

Where are you at now?

I’m still very much figuring it out. I think ‘Riverdale’ is still a liminal space for me. I never assumed I would go back to entertainment, and I didn’t think I’d be doing TV if I did, but it’s a Golden age for television right now. I mean, if Anthony Hopkins is on a TV show, you know you’re in the right place. My brother and I had played it smart enough throughout our college careers with our finances, that we were in a place where the reason for us to be acting wouldn’t be money. That we could be the patrons of our own agency and curate a collectin that we wanted to see, and I’m still figuring out how I can do that and still be a working actor. I think the greatest dilemma for any artist is between commercialism and passion artistry. In saying that, to be an actor means to be a working actor - and to be a working actor often means not being in full control of the narratives you fit into. Although it’t different for me now, because I’ve gone through college, and backed up my understanding of acting and entertainment wish a wide dialogue of other disciplines. I can approach this form now through a much different lens.

I think people have an understanding of my brother and I now that we have it all figured out. I get asked a lot about 'Riverdale’ and whether I helped the other young actors on the show get through this and that. I couldn’t imagine me going around and being like, “Hey listen to me, I’ve done this before, okay. Trust me.” The truth is - it’s brand new. Every new project is an experience that I haven’t lived before, this character is very different from the last one, and this experience is different than the previous. The industry has changed dramatically during the five years I was away, so to think that I can bring any realm of experience into this brand new game…

How do you go from arrogant little Cole to an empathetic artist? It seems like two different worlds to me. How do you get from one to the other? Is that just from within or were there circumstances around you that triggered that as well?

The circumstances of the arrogance were that my brother and I were the primary bread earners in our family. We were running a ship, completely inexperienced, and as children we were unqualified for the role. I think the shame in recognising how much the industry had shaped that arrogance and how close I was to a stereotypical and cliched narrative of a young actor - along with a desire for uniqueness, that’s not only bred within US society, but certainly encouraged amongst identical twins - the more I dissolved myself into these cliches of young male stardom, the more I felt ashamed of them. I realised it wasn’t an accurate reflection of myself. It was also so expected. I went to university and had the ability to understand why I was acting the way I was. My brother and I took a step away and saw both edges of the sword of young success and considered the aspects of it that we liked and disliked - it gave us an ability to feel proud of certain parts, while ashamed of others. We desired certain aspects of the industry again, and I know I wanted to serve as a good role model. I had interpreted the pursuit of education as one of those areas that were so unexpected of young actors and also very respectable as a choice, that it seemed like the most logical next step for me. But I hated myself for a long, long time - probably from the age of 13 to 20.

That’s a long time. Why did you hate yourself?

I was really disappointed in my station, and part of arrogance is a disgust of self - I think part of child stardom is also a disgust of self. I hated myself, because I had an image of myself that was different from what everyone else thought. It’s the child stardom issue, which a lot of people lose themselves to. It’s the same thing my brother and I could have lost ourselves to, and that many of our peers deal with in complicated ways. When you’re so young and given even a modicum of success, you’re constantly being reassured of the longevity of it, so when you come to see its inherently fickle nature, you start to blame yourself tremendously. Mixed with your own self-identity and coming to terms with a version of yourself that’s different from that of the public, I think it’s a petri dish of self-loathing. What I was experiencing was in no way different than what my brother was experiencing or what any of the other kids I knew were experiencing, but we came out of it. We questioned it.

With the success of 'Riverdale’, how has this impacted you?

The fanaticism has changed. The nature of social media and the validation that comes from it has changed the way people interact with individuals who are sold as public commodities.

And also, social media now puts you back in power.

That’s been great, but the nature of fanaticism has in my experience been different. People are much quicker to grab, touch and expect. Perhaps this is because people are much ore exposed to me now as a human being and the work I’m doing through social media. When people come up to me they feel like they know me to a much greater degree, and it eliminates their caution in crossing a line with questioning or understanding what should in my opinion be a shared human experience regardless of profession. I have an enormous respect for my fans, because they’ve been there for me when I wasn’t working, and since I was a child - and for the greater part of my career, they’ve treated me with more respect, caring and understanding than I frankly believe I deserve. I think I understand, to a much greater degree, that this kind of fanaticism is something you really need to take good care of. The success of the show is wonderful and validating. Shamefully enough, it has been validating, because I’d like to say I’m more independent and I don’t do it for the feeling of validation. The truth is that when you leave a character with real humal emotion and people take to it and resonate with it, that’s a good feeling as an actor, because it means that it’s working. If people are asking how much of this is you, that’s when you know you’ve played your part right. I have appreciated the success so much, because I know what it was like when I wasn’t acting and I wasn’t receiving that kind of resonance - I know what it looks like without it and now I know what it looks like with it. I’ve always very much enjoyed acting when I’m actually playing the part and working, and I’ve always had a profound disagreement with the other aspects of the industry, which is the appearances and the keeping up of these sort of more fanciful, more masturbatory sides to the industry.

We talked about your joy of escaping into nature. Is this still important for you?

Yes, I call it escapism, and I think it affects every part of my life. My love of thrusting myself into a more reduced lanscape or social experience, was caused by me being paranoid about feeling watched as a child. I’m now starting to feel that again with a renewed kind of fervour, and for those reasons, something like meditation, a passion or something you can lose yourself to for a few moments, is really fundamental to ground yourself and stay present within the industry.

Do you meditate?

A little bit. I’d love to meditate more often. I think one of the keys to acting is your ability to stay present within that space for an extended period of time, and the nature of meditation is the construction of a presentness that becomes your currency as someone who is playing a role, so meditation is one of the greatest tools in the box when it comes to acting.

I can recommend a two-day silent retreat at a Buddhist monastery. I recently attended one for the first time.

Oh, awesome, that’s great. If I had some time here in Vancouver I would be doing that. Growing ip in the States we have a really complicated relationshp with silence, and silence is one of those things that I’ve had a very hard time with. It wasn’t until I had worked overseas in France that I had come to a definition of silence that wasn’t necessarily awkward. I was doing archaeology over there and we would have dinner in silence every night and simply be left to our own thoughts. As an actor, silence is a place where you can build the most character development and details, so as an actor it also becomes the currency.

This brings me to the next question, which is about noise. I think there is so much of it in today’s society. Talk to me about noise, Cole.

When I think of noise, I think of white noise - something that sometimes dissolves your rain of thought, which can be a dangerous thing. When we’re left alone to our devices and forced to think in silence, and we’re subjected to our own voice in blaring volumes - we learn the most about ourselves. I find myself turning to social media and noise when I don’t want to think. Whilst the meditation that can come from that noise can be good, we have to balance it with experiences in which we’re subjected to out own voice of thoughts. Again, it goes back to escapism for me. When I go into the woods or I sit in the prairie - it becomes a space that allows me to think. This really has been my therapy for years. Every time you dissolve yourself into a more serene landscape, you reflect in some small or great way, which is why I think it’s so important.

Since we last talked to you, your Instagram has more than doubled, giving you even more of a powerful voice.

Yes, but to be honest, social media is very illusionary to me. I use my Instagram as a gallery space, but I don’t take social media too seriously. For me, to get all heady about follower counts or use it as an accurate form of currency or validation of self is a slippery slope. I think only a small percentage of those people are actually engaging, listening and watching the content.

phazerstorm  asked:

I just adore your art style, it's so cute! I'm thinking of making comics myself. Do you think you could give me some tips on angling or facial expressions or overall detail?

Thank you so so much! I really appreciate that! Like, a whole lot. ^^

I’m not exactly sure how much I’ll be able to help you, though I can at least give you some pointers on expressions! I’ll do my best. I’m sorry this is coming a bit late! 

I’m going to use Bendy for my examples, just because he’s super easy to draw and I have him on hand/mind at the moment. But! These can be used on just about anyone.

Keep in mind: this is just my way of doing things. There isn’t one “set” way to create great art! There’s a lot of experimenting, testing and growing when it comes to artwork.

When it comes down to expressions, there are a few things to consider: what are they feeling? How intense is this feeling? How far can, or should you push it? How can you make this feel realistic? In visual storytelling, showing what a character is going through is far more important than telling the reader. In a comic setting, there’s a very fine balance–since you have images to go with the words, but you can’t convey each minute action… At least in a reasonable amount of panels, the dialogue and the images have to work together when they’re used in tandem.

When a character is shouting, you have to push their expression further–it won’t be enough to show them with their mouth slightly open, or with a flat face. Give them wide eyes, or shut their eyes completely with frustration. Open their mouth wide, maybe even get their body language involved if you have enough room. Throw their arms in the air, have them pulling at their hair!

Likewise, if what they’re saying is quiet or somber, soften their expression. Have their gaze ill-focused, or looking to the ground. Their shoulders could be slumped, their brow could be low. Their mouth could be almost, or entirely closed. Or are they happy? Raise their eyebrows, widen their eyes with joy! Bring out that smile! Use as much variety and as many shapes as you can!

Because I’m a visual person, here are a few examples to give you a better idea of what I mean:

(I’m sorry if my handwriting is hard to read)

Which facial expressions are more interesting? Sure, the ones on the left are going through the motions of emoting, but the ones to the right REALLY show how the character is feeling!

Body language is also immensely important when it comes down to expressiveness. Every part of the body can be used to convey a message. The crossing of arms can indicate disgust, or even put a small barrier between two people. Slumped shoulders show disappointment or sadness. Every little movement a character makes can have a massive impact on their overall tone. Here are a few examples like the above:

Even minute changes to a static pose can make a BIG difference! Test around and see what works best.

I’ve noticed that some animators have mirrors near their desk. This is so they can look up at their reflection and make a face into the mirror. They project their character’s feelings onto themselves, that way they can see what sort of facial expression would be best suited to that emotion. Nowadays we can just google this, but it’s still a good idea. Don’t be afraid to look up references whenever you need them. I know I do frequently! There’s no shame in using references!

My friend linked me to this wonderful guide, which goes more in-depth than I did here. Take a look!

I’m sorry I can’t help you quite as much with angles. I feel that I’d need to do a little more research in order to be able to articulate this more fluently. Perhaps some other time I can try and revisit this and go more into depth about perspective and foreshortening, but for now, here’s another great guide that might help you along in the right direction. I use a similar structure for my own drawings! 

Speaking of foreshortening, here’s another tutorial! I don’t use this particular method, but it may work for you!

I know you didn’t ask for it, but I’d like to give you some tips about comic making. If you don’t want them, then I guess you can just stop reading, pfff. Either way I’ll put it under a cut so this post doesn’t take up so much of the dashboard.

Keep reading

Fixer-Upper [h.s.]



The situation Y/N had found herself in was very rare and unnatural considering she was normally very mindful and cautious of these types of circumstances, especially now during class. It was odd and uncomfortable– boy, was it uncomfortable– and it made her feel hollowly awkward and flustered with anxiety.

It had happened to her a handful of times because, naturally, thinking about Harry can get her wound up pretty tight if just the right explicit thoughts managed to wriggle themselves in from the recesses of her mind. Thoughts that she wouldn’t allow herself to dwell on too much while in public because making herself horny in front of her peers was utterly stupid. But this time, Y/N wasn’t really able to control it. It snuck up on her and when set into motion, she just couldn’t make it stop. It was like trying to halt a neutral FedEx truck from rolling down a hill only by pulling it with bare hands– hopeless and blatantly impossible.

Keep reading

Reyna’s BatB Fic Recs

To celebrate hitting the 100 follower mark (!!!), here is a list of my fav BatB fics so far that are focused on Adam/Beast and Belle’s relationship. I’ll prolly be adding to this list as I read more.

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But first, I want to remind you guys of something:

Stories take time and effort to write. As I writer myself, I know how excruciatingly awful writing can be but love it anyway bc im weird and how it feels to have someone recognize the effort that we writers put into the stories that we’ve shared with the readers.

In brief, leave a kudos. Write a comment.

Don’t know what to say? Pick your fav line and explain why it’s your fav! Keysmash! Did the author do something new with the characters? Tell them what you thought about it! Did you laugh, smile, wince at a certain part? Let them know! Too shy to say anything? Just write something like “Good job :)” or “I liked this!”.

Basically, the excitement you get at reading an amazing fic is the excitement we get for ppl reading and giving feedback on our fics, only multiplied bc these things are like our babies.

So please please please comment or give a kudos. They actually help motivate writers to write more, so if you liked a fic, be sure to tell the author! Who knows, maybe they’ll be inspired to write more fic bc you wrote an awesome review ;)

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for she had eyes and chose me by @piercephone/ @notmiliica

(psst read it right now she’s a great writer and an overall awesome person so yeah you need to read this fic asap)

Summary: a series of interconnected chapters detailing the evolution of belle and adam’s relationship over the course of their life together (WIP)

and when he could not climb, he reached by @scarfblogs

Summary: the castle came awake that night. (Complete)

I Love You Too, By The Way by @funnygirltthatbelle

Summary: Short conversation between Belle and Adam between the kiss and the reunion with the servants. Because you know Adam would be excited more by Belle being in love with him than by the curse being broken. (Complete)

pouf-pouf by @je-suis-em-jee

Summary: “Not for the first time, Belle found herself curious about the dusting of gold Plumette so often applied to the corner of her eyes and the swell of her cheeks. ‘Actually. I did have one question. How do you…’ She touched the side of her face to indicate where Plumette’s skin shimmered.
'How do I do my makeup?’
Plumette shook her head in amazement. 'There were really no other girls in Villeneuve?’”

In which Belle makes a friend and learns more about her fiance. (Complete)

When We Touched by @daysinthesuns

Summary: The five times the Beast had human contact for the first time in years, and the one time he had it as a human himself after the curse is broken. (Complete)

Lessons For The Lost by KayMoon24

Summary: Once the former Beast, newly human King Adam, alongside his newly wedded wife, Belle, attending various social gatherings featuring the rest of the Disney Royal kingdom. It gets awkward. (WIP)

Embers & Ash by telepathy

Summary: During the “Evermore” scenes in the new Beauty & the Beast film, Beast reflects. (Complete)

She’s never out of sight by @jomiddlemarch

Summary: They have a second courtship after the marriage. (Complete)

What a puzzle by @jomiddlemarch

Summary: Maurice came to dinner on Sundays. (Complete)

The Master of My Fate by @jomiddlemarch

Summary: He’d slipped into the alcove for just a moment. (vignette about Adam before the curse) (Complete)

“Love looks not with the eyes, but with the mind..” by @kotaka-kun

Summary: What happened in the short span of time from when the Beast demanded Belle leave, to him rescuing her from the wolves. (Complete)

Behold the Beast by P_Artsypants

Summary: An alternate ending to the Disney Animated Movie. (Complete)

The Anchor by sancallisto

Summary: Chapter 1: A short vignette immediately following the transformation kiss.
Chapter 2: A short vignette immediately before the Celebration dance.
Chapter 3: A conversation that occurs the night following the breaking of the curse. A series of vignettes following Belle and Prince Adam based on the live-action Beauty and the Beast. No set number of chapters or timeline
. (WIP)

Mirrors by @greensearcher

(ok confession time so i actually haven’t read this yet but i’ve glanced through it and it looks AMAZING so yeah next free time i get imma read the whole darn thing in one sitting)

Summary: Everyone knows the Beast was selfish and unkind—which, of course, is exactly what a jealous enchantress would want the world to think. A retelling in which young Adam was an innocent victim caught up in his father’s past mistakes, and Belle a willing presence seeking to repay her own father’s debt. And with a vengeful witch on the loose, Gaston is the least of their worries. (WIP)

open doors, closed doors by  @ice23hot

Summary: Her selflessness angered him, reminded him how much he did not deserve her or the child. She looked frightened when the midwife shooed him away. Now all the prince could think of were the worried eyes that had met his before the door slammed in his face. (Belle and Adam have their first child) (WIP)

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Don’t forget to thank the authors for writing these wonderful fics! Happy reading!

No, I don’t hate GRRM, and I don’t hate ASOIAF.

It seems whenever I offer a criticism of ASOIAF and the way it’s been written, I receive a flood of messages asking me, “do you even like ASOIAF?” or “if you hate GRRM so much, then why do you read his books?”

Both types of questions are annoying and willingly ignorant.

I, along with many other people in this world, consume media critically. I search for flaws the same way I search for highlights. I make lists of what I like and don’t like. There’s a good chance that if I’m still talking about it months (or in ASOIAF’s case, years) after I had initially seen/read it, there is something about it that I liked enough to have latched onto it.

As a beginning ASOIAF fan I was extremely uncritical. I found nothing in particular to complain about except maybe a few minor grievances here and there. I romanticized ships like Rhaegar/Lyanna, I thought Jon Snow was a flawless character, I found every protagonist to be pleasant enough and every antagonist to be unpleasant enough.

As time (and GoT seasons) dragged on, some things I did not consider before were called to my attention. I read some meta. I browsed tumblr and reddit. I became more enlightened through reading these opinions and thought pieces until I slowly began to embrace some of these ideas and formed my own opinions around them.

I soon found myself bothered by the romanticization of Rhaegar and Lyanna. I found myself bothered by how often rape and sexual assault were introduced in the books. I found myself bothered by the depiction of the Dothraki, then later of the Dornish, Summer Islanders, and other characters that were depicted as PoC. When I was able to put those feelings to words, I received feedback both positive and negative. People agreed with me. People disagreed with me. I was corrected many times, I shared many back and forth constructive conversations, until I’ve reached where I am now, still sometimes wrong but a person with my own opinions and grievances on this book series I latched onto.

Why did any of this happen? Why I read and reread and learn and grow? Why did I introduce my criticism? Why did I bother at all? Because I love ASOIAF. I fell in love with the story, the characters, the complexity, the details, the worldbuilding, all of it, and I was not satisfied with the books alone, so I sought out more writings, more fans, a community where there is an exchange of ideas and where I could delve even deeper into the series than ever before.

The first thing I ever wrote that I tagged as “my meta” was a criticism on how GRRM wrote misogyny and sexual assault into the narrative but failed to address those issues within the narrative. I wrote that three years ago and I still can’t believe I did that, I can’t believe it got 100s of notes and that I got a dialogue going. The response was encouraging, because it told me that people are listening to me, people agree with me, there are others out there who love the books as I do but are also bothered by the same things as me! That’s crazy!

Yet somehow, this criticism of GRRM’s writing is often translated into: “oh, so you must hate GRRM”. No! I don’t! I hate how he wrote some parts of this story, but do I hate him personally? No! Why would I? I don’t know him. I’m irritated at his writing choices, particularly with how he wrote race and sexism. Those two things are real things people like me and millions of other deal with everyday, so when one of us say “hey, I’m bothered with how he wrote the Dothraki as a dark-skinned barbaric horde with no personality traits except Rape and Violence” it is not the same thing as saying “I think GRRM is toxic waste, should be sealed in a lead drum and buried 20 feet underground”. Stop translating criticism, especially that which comes from a personal place, as some sort of thesis on the man himself. It’s insulting and reductive and just says to me “hey, your points make me uncomfortable and/or I don’t understand it, but I did see you mention GRRM a few times in your writing so it looks like you have something against him”. It tells me that you missed the point completely.

So please folks. I beseech you. Stop doing that. Stop derailing. Stop believing that those of us who criticize ASOIAF are part of some crusade against this 69 year old white dude. He’s never harmed us personally, I assure you. He wrote some amazing literature that we have all eaten up and eagerly have been waiting for more, we’re all a little bored here, and he’s given us lots of time to reflect on the flaws and isms of his writing. Let us do that without assuming that we’re all waiting with pitchforks outside of house ready to skewer him Oberyn-vs-Mountain style because of something we didn’t like.

Moreover, if you read something that you disagree with, don’t take it personally. Either build an argument in return or let it go. Stew over it with your friends or alone, idc. Just don’t go stomping into inboxes derailing the OP’s post with ad hominems and red herrings, okay?

I once joked that I love the books so much that sometimes I hate them. ASOIAF is like that best friend I get along with really well, but then they say something racist or catcall a woman on the street, I have to yell at them until they learn to behave again.

Anyways, thanks for reading, and please don’t make me write another post like this again. Please.

anonymous asked:

Sorry if that might come off wrong, how would one have a woman describe herself, without being sexist and being accurate, im asking you spefically because A.your a woman so you would know best and B. Your the best writer i know. ( i know this sounds like a guy question, uhm i know that also sounds sexist. But im a pre-everything trans woman, and just dont have a lot of experience in writing.) also sorry for any accidental sexism.

Thank you very much! And no worries, Anon, this is a perfectly understandable question and a good thing to ask, and I’m not the least bit offended. You’re all good.

The thing about writing is that we often learn how to do something from reading it, so, you don’t have to be malicious in order to pick up bad habits. Which you obviously know, and that’s - in my experience - the best place to start from. And self-descriptions are actually pretty hard. 

So, to the question. How to try and steer clear of sexism.

I don’t think there’s necessarily a surefire way to do it. But what I’ve found is that the first thing when describing any character, is to decide what’s actually important about them. And honestly that also goes for describing places and animals and objects, too. In a story, you are never going to describe everything. Details are going to be left up to the reader, and that’s not bad at all, so, step one isn’t deciding how things look, it’s deciding what aspects of that look matter.

For example, it might not matter what colour hair your female character has. You might not be even remotely bothered if some readers imagine a blonde or a brunette or a redhead, or what. Maybe it matters more that her hair is curly. Maybe her hair is utterly irrelevant. That’s all perfectly acceptable. Writing is often more about consistent feelings than consistent visuals. If you want consistent visuals, that’s what movies and comics and stuff like that are for. In writing, one reader can picture a character in a totally different way from another reader, and that can actually be a benefit.

And this is where sexism often gives itself away, because in the necessarily limited time which any writer has to describe a character, a lot of times, male characters are described in ways that reflect their character (he’s a fighter, so mention his scars, he’s on the road a lot, so mention his stubble, he’s been under a lot of stress, so mention the perpetual lines between his brows, etc), whereas female characters are described in ways that only reflect their attractiveness, regardless of its relevance to their character (she’s a scholar, so why are we mentioning her pouty lips, she spends a lot of time indoors, so why are we mentioning her cup size, she’s fond of animals, so why are we talking about her clear skin, etc). 

Don’t get me wrong, there are times to mention a character’s attractive features - usually when the POV character is feeling very attracted to them. But with characters describing themselves, especially, it becomes very glaring when the description adds no context to the character’s own personality or place in the story. 

And also, with self-description, there is bound to be even more stuff that your character simply won’t mention about herself because she’s not thinking about it. Especially with positive traits, like, unless I’m trying to amp myself up, I generally don’t go around thinking about how nice my ass looks. But that’s another point - if your character is describing herself, then her mood is going to have an impact on that description too. Is she having a good day? Is she cheering herself up? Did she stand in front of the mirror that morning, smack her own ass and say ‘you could bounce a quarter off of that, babe, you look good today’ to her reflection?

Because, that’s character work. That’s telling you as much about how she looks as it’s telling you important stuff about her personality. She likes to bolster her confidence. For other characters, the very idea of being that playful with themselves just wouldn’t fly.

There’s a lot of tropes you can try and avoid, the Not Like the Other Girls stuff, the Vain Woman thing that usually comes up whenever a lady in a story is in range of a mirror, and the Cool Girl who manages to look like she’s wearing make-up without wearing make-up, manages to eat ten tons of food but only ever gains weight in ‘all the right places’, never gets uptight, only ever takes ten minutes in the bathroom, and all that stuff, but. At the heart of it, accounting for all the kinds of women who actually live in the world, and all the kinds of stories that can be told, I think the most important thing is to just decide what actually matters to this woman about her own appearance. And then, she will describe herself in those terms, because that’s what she would think of if you asked her to describe herself.

A lot of authors (regardless of gender) think it’s of paramount importance that readers know a female character is attractive or unattractive. Right out of the gate, that’s usually the first thing put on the table, and it’s dumb, because even apart from the obvious sexism, your readers aren’t all going to find the same stuff attractive. Attractiveness is subjective. 

So like, instead of it being like:

Perhaps the time has come for me to describe myself. I’m on the tall side, slim in my upper body and wider lower down. I have black hair with flashes of auburn, cut into a curved fringe over my forehead, and drawn into a French pleat at the back. Green eyes. A pointy, slightly sharp face which was described as unattractive when I was a little girl. I remember crying for ages one day when a cousin referred to me as an abominable parrot. I was left with an acute awareness that some people might think I looked like a bird. Even if I do have a slightly hooked nose, I actually have very full, cushiony lips, and I think my complexion is more like peaches than feathers. (Actual published quote of a woman describing herself.)

It’s more like:

There are certain advantages to being tall, even if being skinny and hook-nosed when you are means that certain cousins of yours might tease you for looking like a bird. For one thing, when you’ve finished bawling your eyes out in your aunt’s bathroom, you can use your significant height advantage to hide said cousin’s favourite toys in the cabinet over his fridge. A spot where, theoretically, no one would think to look for months on end. 

And then when it’s relevant, you can mention that she has long dark hair in a braid, and if someone kisses her, perhaps they can think of how soft her lips are, or notice for the first time that her eyes are green.

Now obviously I have a different style from the infamously bad creator of the Abominable Parrot Woman, but the point is, don’t feel like you have to be 100% accurate to your own mental image of how something looks when you’re describing stuff. Looks aren’t always the most important thing, and a lot of times, sexism lurks in the presumption that, for women, they are.

anonymous asked:

What Voltron ships do you think have a chance or don't have a chance at becoming canon?

Pretty much 100% guaranteed in my book: hunay. Shay is the one who really inspires Hunk to stand up for a cause, and it’s her bravery that helps Hunk find his own courage. How much she means to him is what sets off the balmera arc, which is integral to his character development. He says that the balmerans made him see the war in a whole new way, that he finally realizes that there are countless other people and planets that Zarkon has conquered and it’s the paladins’ mission to free them. The way he’s always so concerned about her and the others tease him for his crush is pretty obvious and incredibly sweet. I don’t think they’ll just put Hunk with someone else after that. Hunk and “the rock he admires very much” are adorable together and I’m so happy for them 

I’ve written like a hundred meta on this, so I’ll try to brief, but–yeah, I think sheith has a really good shot. Time and again they are established as the most important people in each other’s lives (“your friend desperately wants to see you,” “it’s good to have you back,” “it’s good to be back,” “that really stayed with you, didn’t it?” “Shiro was the only one who never gave up on me, I won’t give up on him,” ect). The way Keith is always running to Shiro’s rescue is characteristic of the traditional knight and princess trope, and Kuron is even so bold as to tease him about it–“How many times are you gonna have to save me before this is over?” “As many times as it takes.” 

The way Keith has so many grief-stricken outbursts over losing Shiro and acted as if no one else cared about him the way Keith did–it really feels like Keith is mourning a over. The way everyone else urges him to move on while he’s still carrying a torch for Shiro only serves to further support this. It’s also important to consider that “Keith latches onto Shiro at times because Shiro’s sort of the only thing that can really calm him down and keep him in check.” Because we know Keith’s volatile emotions stem from being galra, and Shiro is literally the only one that soothe that side of him. On it’s own this trope is romantic, but we also see it reflected in Zarkon’s relationship with Honerva as well. “Honerva has really softened you up old friend.” There are so many parallels between sheith and zaggar, and I don’t see why they’d do that if sheith wasn’t also meant to be interpreted as romantic. 

The framing, exclusive privacy, and tone of many of their scenes also feel exceptionally intimate and romantic (see: their first scene together, that part where Keith promises that nothing’s gonna happen to Shiro and Shiro gives him the fondest look, the BOM trial, the hug, how the season 3 reunion was exclusively between the two of them and complete with longing looks as they slowly drift into each other’s orbit, the bedroom scene, ect). At this point I literally can’t imagine either being paired with anyone else. And even if they are, I’m beyond the point where I would be able to rationalize it. They’ll always love each other first and foremost. And the creators have honestly talked about lgbt representation quite a bit. They’re so invested in it that, I think if they were to make a gay ship canon, sheith is our best bet. 

A ship I also think has a really good chance: allurance. I’ve made a few posts on that already, and you can check this one here for a more detailed explanation. But basically, I think season 3 went out of its way to really develop their dynamic. It’s not Keith who hands of Red to Lance and tells him he’s that should pilot, it’s Allura. And this distinction is quite interesting. It feels a lot like how Shiro left Black to Keith (and I mean, I think I’ve already made it clear how I see their dynamic as romantic). Allura also tells Lance about her very personal history with Red and how she wants Lance to carry on that legacy. She could’ve had this conversation with Keith at any time, but she didn’t. It’s Lance who she opens up to and sees her father in. It’s Lance who she look to for advice (”What would Lance do?”) and it’s Lance who looks out for Allura during The Hunted while Keith was ready to leave her behind and couldn’t care less. 

And we also get that sweet moment where Allura only explains what her armor means to Lance. And then Lance hands off his bayard to Allura and says “If I had to lose Blue to anyone, I’m glad it was you.” And Allura looks so fond at hearing that, her gaze softens and I find it hard to believe she isn’t at least a bit taken with him. The way their hands touch when they exchange the bayard and Lance expresses how much Allura means to him, how he’d rather it be her than anyone else? Yeah, we never get any scene like this between Keith and Lance. It feels intimate in the same way a lot of Shiro and Keith’s interactions are. And if Lance or Allura were to end up with anybody, I think this ship just makes the most sense. It would also fit the “slow burn” profile for Lance’s love interest Jeremy mentioned. 

A ship that I thought was more promising in season 2 but now feel like it doesn’t make much sense: ka/llura. It feels like they could’ve been going somewhere after the galra arc, but then the ship just burns out and loses all momentum. During season 3, I think there was a clear divide between them. The only episode that felt ka/llura to me was A Holy in the Sky–but even then, that felt more like a homage to 80′s voltron than anything. I honestly can’t forgive the way Keith completely turned a blind eye to her safety in The Hunted.

And if they were ever going to establish Keith with another love interest, I think now during Shiro’s disappearance would have been best the time. So that they could be there for Keith when he needed some support the most, so they can affirm that there are others who care for him and he doesn’t be alone. But no, that’s not how it is. The most meaningful interaction between Keith and Allura during that time is Allura reaffirming how Shiro is irreplaceable to him. It’s not about Allura’s feelings for Keith, but rather acknowledging Keith’s feelings for Shiro. 

Narratively speaking, Shiro is literally in the position of Keith’s love interest during his leadership arc. And this is further underscored by how Keith doesn’t go to Allura or Lance or anyone else when he wants to talk. He goes to the Black lion and tries speaking to Shiro. Because even if Shiro’s gone and everyone else is right there, he still shoves the other paladins aside and reaches out for the one he lost. That’s love. 

A ship that I can kinda see happening: plance (pidgance?? I dunno, I’ve seen lots of different names for it, sorry). Anyway, I honestly got the feeling that Pidge might have a bit of a one-sided crush on Lance. She’s the one that gets the most annoyed by Lance flirting with other girls, and it’d be an interesting dynamic to show Lance developing a romantic relationship with the one girl he never actually flirted with. 

And I mean, Lance was the first person paladin to try and reach out to her. Even though she blew him off, I think she was still kind of touched by the gesture. And we do still see Lance being protective of her at the garrison, so I think it’s possible she could’ve starting feeling something. I think it’s likely it might go unrequited–maybe something like Sokka and Toph–but it’s possible it might head somewhere later. 

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Outlining a Novel

Anonymous asked: How do I outline?!? It’s driving me nuts!

You’re making me laugh! Oh, don’t we all want to know? The truth: there is no right or wrong way to outline.

Every outline I’ve ever made has looked different from the previous. Stories take on different shapes, require different kinds of outlines, and different levels of detailed planning. Part of it will mean knowing yourself as a writer and your process. I journal as I write. I note what my process is and take time to reflect on that. It’s helped me get better at writing and churning out more stories. For me, if I’m working on a long-term project, I cannot get bored. Boredom is deadly.

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BTS Reactions - You wearing a dress

You smile at the mirror when you see the reflection of yourself. Your boyfriend recently bought you a beautiful dress, and you’re wearing it on your date tonight. A knock on the door lets you know that your boyfriend is about to come in, so you turn to the door, ready to show him how you look.

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(A table of contents is available. This series will remain open for additional posts and the table of contents up-to-date as new posts are added.)

Part Seven: Writing Siblings

Luckily for me, and all the stories I want to see, siblings tend to appear in stories quite a bit more than parents, but still not as often as a group of friends or acquaintances that come together to work as a team. Siblings are another tether to your character’s family–to their past and their roots, to all the secrets in their past you may have built into plot devices for later. They’re cut from the story as easy pressure points for evoking emotion; in a similar way to how significant others and date-mates may be killed off to serve the story, siblings often find themselves in a similar fate. Siblings are a fantastic resource for stories and provide an opportunity for intense relationships to your character if you bother to let them stay in the narrative.

Shared history: 

This is one of my favorite things about sibling characters: They share a special history. If they grew up together, they have many of the same experiences: holiday traditions and family trips, opinions about a family member and all the remember-when moments. They know the tics of their parents, know what happened when a certain button got pushed one too many times. They know what each other went through, and they know each others strengths and weaknesses; they know how to support each other with that shared history. Friends can come to develop that over time, but siblings come with it inherently if they were lucky enough to grow up together.

If a character didn’t grow up with their siblings, there’s a beautiful opportunity when/if they do meet to begin building that shared history they missed out on. You get to watch as two people not only come to be friends, but also realize that their friendship could become something deeper if they wanted it to: a true family relationship. If both characters accept the family tie and are interested in pursuing a connection between them, there’s so much story depth that can be added through scenes watching them go from laughing at the same joke to realizing that losing the other would tear them apart.

Shared history also extends to family background, too, so if your main character discovers something about their lineage, their sibling is also affected. This is an important thing to remember since you can spin more complex tales using it–all of a sudden, it’s not just your character dealing with the discovery, it’s also the sibling, and it’s not just how your character’s relationship to their family changes, but also how their relationship with their sibling changes, too. Your plot devices like prophecies and chosen heroes and go-it-alone-only-you-can quests and no-one-understands-the-struggle dilemmas all of a sudden get a lot more interesting, much more faceted, and provide lots of nooks and crannies of emotion and character development to explore.

Relationship with their sibling: 

We know that siblings share a connection deeper than just friendship–they’re family. Portraying that part of their relationship to your character is vital to making them feel right and real. There are a couple of things you can use to help get that across.

Using that shared history is going to help no matter what. Your siblings are going to be able to reach each other easier because they can bring up things they both experienced and relate those emotions back to what they’re going through currently. They’re more likely to be able to coach each other through situations and more likely to have things to say or remember that are poignant, relevant, or impactful in some way for your character. Because of this, an added side effect is that emotional reactions that are instinctual when it comes to other people may not be the same toward a sibling. For example, an acquaintance may say something that sends your character into a rage, however if a sibling had said something similar, it might have been funny instead. Our relationships with others slowly change our emotional reactions the more familiar and comfortable we become.

Take into consideration personality, as well. Do these siblings get along with each other? What contributed to that? My family moved a lot, so my sister and I wound up very close because we were our only constants in our lives; we knew we’d both be there to face new places, and we lived in cars and hotels together for weeks at a time, so we had to get along or we’d kill each other. It helped that we liked a lot of the same things, some of which were shared by our parents as well. Remember that while you want to have well-rounded characters that are capable of standing on their own as full individuals, it doesn’t mean that your siblings have to embody completely separate, opposite personalities in order to be effective characters. Maybe they’re both quiet and smart, which allows them to ping ideas off each other and solve super complex problems; maybe they’re both defensive and it causes them to butt heads because of it. Don’t lock yourself into the idea that they need to be juxtaposed against each other to create interesting dynamics between them.

Narrative Impact: 

Your siblings will provide an opportunity to portray a relationship full of familial love–just as deep as romantic love, but without any pressure from readers for it to get sexual. (And if you were planning that really common foster sibling or separated sibling love relationship, please don’t. It’s very awkward for literally everyone involved and there are 1,000 more conflict and emotional growth opportunities out there than that. Ugh.) That positive portrayal will go a long way toward not only reestablishing siblings in literature but also showing real-world siblings a reflection of themselves.

Think about your plot and whether their sibling status has any kind of impact toward the plot or whether it’s simply a minor detail. How will your siblings’ connection change how they react to certain situations by shading their goals? What are those goals for each sibling and are there ways they connect and interact? There should be some that each sibling doesn’t share–goals that are specific to each individual as a person, not solely joint goals as a functioning unit together. After all, these are not one person, but two people who care about each other. How can those goals feed into your plot or into the character development of either and serve to escalate or resolve other conflicts?

Do they like to stay in communication with each other? Is their communication mostly long-distance, or face-to-face? How often do they see each other? What are a couple of key memories and the emotional reactions that go with them? How do their personalities interact and how can you take advantage of that with the plot? Would manipulation of one bring out the best or worst in the other? What would happen to your character’s mental state if one of their siblings was to be put in danger or injured? How protective are they of each other, and how much would one sacrifice for the other? How well do they handle being apart, and how much do they respect each other’s space when it’s self-initiated vs. circumstance-initiated?

Next up: Immediate extended family!

Break A Leg

First Part: Brave
Second Part: Breathing Space                                                          
Third Part: Plotting                                                                      
Fourth Part: New Arrangement                                                      
Fifth Part: Spinning                                                                                
Sixth Part: Distraction                                                                            
Seventh Part: Interlude                                                                            Eight Part: Duet                                                                                             Ninth Part: Pep Talk

Part 10 in my developing Roman/Virgil University!AU <3

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They arrive at the theatre far too early to take their seats, but Virgil doesn’t mind. At the very least, it’s giving him a chance to actually look around in the foyer, while Logan and Patton queue to get the reserved tickets. He finds a cabinet displaying photos and cut outs of reviews- and he notes with pride that Roman’s name pops up frequently. There’s a lovely candid behind the scenes photo of Rachel and Roman mid-high-five, and Virgil finds himself drawn to it. He can’t help but smile at Roman looking so radiantly happy in the moment. He catches the eye of his own reflection in the glass, and his cheeks warm a little. Sometimes, he thinks he’s so obvious, it’s a wonder the whole campus doesn’t know…

“He is rather adept at professional make-believe, I must admit.”

Virgil glances sideways to see Logan leaning casually against the cabinet. He smirks.

“Thank God Roman can’t hear you. ‘Professional make-believe’? Pretty sure he’d murder you on the spot.”

Logan shrugs. “Worth the risk.”

“It’s not just that,” Virgil says conversationally. “Have you read Roman’s thesis yet? It’s so cool, it’s like, the power of storytelling and different choices you can make and-” He cuts himself off, realising he’s gushing, and stands up properly.

But, it’s quite obvious that Logan hasn’t been listening to him at all. He’s still leaning against the cabinet, and his eyes have glazed over a little behind his glasses. Virgil follows his gaze, and spies Patton, chatting with the guy behind the box office as he collects the tickets.

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