this book takes forever to get through because it's often times too much to handle

The Unknown (ALiL Deleted Scene)

Summary: (College!AU) In which you stay up late thinking of all the reasons why being with Bucky scares you

Pairing: Bucky x Reader

Word Count: 803

A/N: @seeyainanotherlifebrotha requested: “Late night thoughts (the kind ya do when you can’t sleep at night) with the reader and maybe drop hints as too why she is so afraid to fall for Bucky despite everything that’s happened between them??” This takes place “The Honeymoon Phase” and “Jealousy”

“A Lesson in Love” Masterlist + Soundtrack

@avengerstories - you are my forever righthand (wo)man and I’ll love you forever because of it.

Originally posted by gliceria

The lights are off. You’re tucked under your covers, having achieved the perfect combination of warmth and comfort that has become a rarity since the radiator decided that it only liked working every once in awhile. The sky outside your window faded to black hours ago and you’re exhausted. All of this should add up to one thing - a good night’s sleep.

Should.

It should add up to this. But it doesn’t. It can’t. Not when Bucky has once again found a way to invade your thoughts.

You groan as you roll onto your side, willing your mind to silence itself. To give you a reprieve from your thoughts. From him. But it doesn’t. It hasn’t been able to since the night, that night, when your whole world was thrown off its axis by the mere touch of his lips on yours.

Keep reading

anonymous asked:

Reasons to break up with their couples?

Okay, I wasn’t sure if you meant why they would each individually break up with a person, or if you wanted ship specific breakup headcanons, so I went with the first. If you wanted the second, feel free to ask again!

Eren would end a relationship if his partner betrayed his trust. If they cheated or lied to him, if they did something serious behind his back. Eren’s all about trust and loyalty, strength of heart, and if someone does something to break his trust, then it’s over. 

Mikasa would end a relationship for cheating. She can handle most things, and is very good about confronting behaviors or attitudes that could cause a problem, talking through them before they become an issue or not entering a relationship at all if they will be problematic  (i.e. self-centeredness, close-mindedness, etc.) But if she finds out she’s been cheated on, she’ll drop you faster than a hot potato and will not look back. 

Armin would end a relationship for dishonesty. Whether in cheating, someone trying to change themselves to be with him, or just a pathological lying thing, he won’t stand for dishonesty. Little whites lies here and there won’t end things, but once those start to add up and turn into bigger lies, it won’t be long before he finds out the truth and ends it. 

Keep reading

anonymous asked:

The Headband is a pretty awkward episode for the Katara/Aang pairing. Who thought it was a good idea to depict a romantic dance scene between Katara and Aang after having Katara pretend to be his mother only minutes beforehand? I mean... what? Why? Couldn't Sokka have handled the parent-teacher meeting on his own? Why make Aang's love interest take on the role of his mother? I can only imagine how uncomfortable I'd feel if the love of my life pretended to be my father. Ick.

Agreed. This is a good topic to discuss. Both Katara’s highly ambiguous feelings for Aang and her motherliness seem to be remnants of the original idea for her character–the object of Aang’s one-sided crush. This is true in both the I.P. Bible and the pilot episode and there is no doubt that the Aang/Katara romance was not planned from the start. Even when she is portrayed as a love interest, she is also his mother figure. (blech)

I read that Joshua Hamilton and the other writers first planned the idea for a Zuko/Katara romance around the middle of Book 1. And it is especially true that during this time, Aang and Katara’s relationship becomes even more firmly rooted in a parental dynamic.

Aang’s decision to keep Hakoda’s letter hidden from Katara and Sokka shows just how true this is. Aang is very much acting like a child who does not want to lose the new family that he has. And this is entirely understandable and makes Aang sympathetic, human, and flawed. Aang has lost everyone he has ever known (besides Bumi) and he is vulnerable, and Katara naturally wants to help him. She tries to be especially delicate with his feelings due to his history and his losses. It is a very interesting and realistic dynamic, but it does not feel romantic at all.

This is even more true in Book 2. Katara very much mothers Aang. She acts as his mentor and confidante, and she even scolds him at times. He acts very much like a child does with his mother when she is in a bad mood. She takes charge of the chores for everyone and this seems to be normal, as well.

Aaron Ehasz said that Katara tries to shelter Aang from the harsh realities of life, and I agree with this completely. She means well, but since she has suffered losses herself, she tends to oversympathize with Aang, and often coddles him. Toph needed to take a tougher approach with Aang than Katara ever would have been comfortable with; it was the only way he was able to earthbend. And Aang clearly feels comfortable pouting and taking his frustrations out on Katara, much like kids do with their mothers.

None of this is a bad thing in itself. It is quite realistic, actually. Aang is still a child, and it is entirely believable that he would behave this way after everything he’s been through, and it in no way makes him a bad character. In fact, I think it makes him more complex and compelling. Ehasz also said that Aang’s romantic love for Katara was a way of him replacing the loss of the Air Nomads and I think this is true, too. Now, of course I do believe that Aang loves Katara genuinely; I am simply talking about his rose-colored glasses “forever girl” puppy love. He feels overly attached because he has a strong need to feel secure; he fears being alone and abandoned after losing his people.

When Guru Pathik asks Aang to let Katara go, the only images that are shown of Katara are ones where Aang is looking at her as a love interest. Not her caring about him, not him caring about her. Just Katara during Kataang moments. If the message was not clear enough, that really solidifies it. Book 2 in its entirety was set up specifically for Katara NOT to be Aang’s endgame love interest. That was the entire point.

Now, Book 3 is where things start to change. M. Knight Shaymalan said that Bryke were still undecided as to who Katara would end up with even after they decided to cancel Book 4 and make the film trilogy. This happened in the very beginning of production for Book 3. And it is interesting that The Awakening still has Aang pulling away from Katara, and her mothering him. I definitely do not think that The Awakening was made with the Kataang ending in mind.

Nor do I believe that Maiko was decided at the time of that episode’s production. You can see this in their interaction. The script went out of its way to make Zuko and Mai’s first interaction very unflattering. She basically told him to shut up about his feelings; there is no way that scene was intended to be seen as romantic for Zuko. That’s why they had to make the comic in order to retcon them into ”childhood crushes,” which is absolute bullshit and I’m doing a meta on that, too. Clearly things were planned to go a very different route with the romance. The Awakening still seemed to have been made with Book 4 in mind.

Sometime later, after Bryke decided to go with Kataang and the film trilogy, they scrapped the Kuzon episode, and went with Kataang dancing in order to make their desired ending not seem so forced. Now you get Katara’s first (and really only) real moment of unambiguous interest in Aang. And you get the weird, creepy out-of-character Mai/Zuko romance where he seems to be under brainwashing from the Dai Li, lol.

It seems many of the other writers/directors weren’t very enthusiastic about the change of plans, though. You can tell that many of the episodes still write the Aang/Katara dynamic (and Mai/Zuko) in a way that is more in line with the original idea. Katara still acts very motherly, and this fact is stated by the characters outright. In The Painted Lady and The Runaway, both written by Joshua Hamilton, Katara in no way acts like she is romantically interested in Aang.

The way she comforts Aang before the invasion, touching his face and calming him, is very much like a mother comforting a child. And she even tucks him in before he falls asleep! Mai and Zuko’s relationship during this episode is also not looking very reciprocal; a remnant of the original idea for their relationship, I am sure.

Even before Aang kisses Katara during the invasion, she is telling him how proud she is of him, sounding very much like a mother. She then comforts him in a similar manner after the invasion fails. She also has to keep him in line several times in the story and get him to take responsibility as the Avatar. He runs away from talking about finding a firebending teacher, and he also runs away when the others are trying to convince him that he may have to take Ozai’s life. Who has to deal with him? Not Toph. Not Sokka. But Katara.

None of this would have really been a bad thing if Book 3 had happened differently. If the story did not push a Kataang romance, and did not distort Aang’s character development, the Katara/Aang attachment subplot could have been very interesting. Aang would come to see that his expectations of Katara are unreasonable. She has always been there for him, even when he takes her for granted, and she has stepped up to the plate for him and helped fill the void of the Air Nomads. She gives so much to him without asking for anything in return, yet Aang still demands more of her. He not only wants her motherly support, but he wants her to fall head over heels for him. Aang would start to see that this is not fair, and he needs to give her a break, while still loving her and staying close friends. Much like how Zuko had to stop taking his uncle for granted after Azula nearly killed him in The Chase.

All of this would have helped Aang’s character develop tremendously and made him far more likable and sympathetic. It also would have been a more mature and meaningful story decision and far less cliche than what we got. Ehasz said that if Aang had found the airbenders in Book 4, he would realize that his romantic love for Katara was not as genuine as he had thought, and I also completely agree with that. Love is wanting happiness for another person without asking for anything in return. That is what Guru Pathik really meant. Aang would be able to overcome his tendency to hold Katara responsible for making him happy and let her go. He would come to appreciate everything she has done for him, and their bond would become closer than ever as a result. He would simply be able to be happy that Katara is happy, even if she found romantic love with Zuko and not him.

Unfortunately, somewhere along the way Bryke themselves became overly attached to Aang as a character and decided to distort the narrative in order to give him everything he wanted; robbing him of the chance to grow or mature as a character. They also ruined any chance of the plot making sense at the end, too. It was all handled so unprofessionally and it is sad that a franchise as incredible as Avatar wound up getting meddled with like it did, leaving it unable to fulfill its true potential as a story.

Blog: Before Planning Your Comic (Finding a Sketchbook)

Hello! I am coming to you with a general announcement!

for all those interested in my advice as far as starting off with comics, I wanna start with the basics.

One thing I noticed since the beginning of me drawing is the issue of sketchbooks. I have been, all my life, trying to draw things that came from my imagination. I remember often being frustrated with other poeple trying to put down on paper the kinds of drawings that I wanted. this has been an issue since I was a toddler. Since then, I have went through a LOT of “drawing” books. from countless lined composition notebooks, to ruddy sketchbooks for all kind of bargain bins.

Because of this, when I really started having my passion for drawing, I would have a big mess of scraps and nowhere to find the ideas I had. It becomes a very troublesome process especially when these ideas turn into characters and stories and characters within the stories.

So when you finally have characters and stories in mind… especially for a comic to-be, it is very important to gather ALL your ideas, musings and doodling in one place, whether it be for one story or a BUNCH of stories, so long as you devote to one sketchbook and finish a whole way through, you have a good shot at continuing with your artistic promise.

Why? because you will be accustomed to taking this sketchbook everywhere! that way you never need to worry about all these sketchbooks and papers cluttering your bag to the point of not knowing which one you can bring everywhere. One thing I notice though, are these little sketchbooks. I have seen some that get sooooooo pocket sized that if the artist(s) lost their pants in the laundry mat, it could be lost forever.

I personally feel the size is really up to you but if you get smaller than A6, not only will it be straining your eyes 99.999% … of the time, the risk of losing this important piece to your creative flow.

First, I want you to find a sketchbook.

I have a thing for what I have come to understand is called perfect bound. take that name lightly because i am going to show you what I have that is considered that kind of binding.

One thing that I find important about this is that it is durable and should help for your to resist tearing out pages.

this is a good challenge for people who, like me, find comfort in tearing out pages. One thing I notice about sketchbooks its that people overuse the concept “WIP”, yet never realize they actually don’t have to finish anything in their sketchbook! sketches are for free form and everything in the book can be a mix of private and a crazy adventure. if someone has to linger on your sketchbook too long, it really isn’t much of their business. I see sketchbooks as journaling. the only reason its okay for you to pour your heart out into it is because the real details and emotions behind the markings are for your eyes ONLY. if anyone ever questions it too much, it is YOUR right to take your sketchbook back since they rather analyze than appreciate.

So by getting this “perfect” binding as seen above, it helps to know where and what is in order in your book and avoid tearing. the book is very durable due to the intense stitching. and don’t worry, if it DOES get worn down, nothing some pretty duct tape can’t handle! * v * //the tape keeps people away more anyways heehee

Also! When you finally have your tailor made sketchbook, please buy new and ACID FREE *you can tell by the smell, honestly. also it should be on the label* )

Secondly! 

I want your name in it~! act like a glorified grammar schools student! Name AND DATE.

name can be one or more things…

Get really possessive about it, the more obvious you make it that it is your, the less BS you will get with people claiming any of that!

Whatever you can do to make it feel like your very own sketchbook! Name/sig/tag/silly customization… etc! just make sure that it is in PEN/MARKER.

and never forget the start date!

this is the start of something new and amazing! so never forget… your are making your own adventure. this old sticker of mine says “A Book is a New Adventure”

and I hand-wrote everything else. I started in the fall with this and I never have to date any other pic if I don’t NEED to. because this is the beginning and I will not put in the end year until the whole book is cover to cover filled! I don’t know how long that will take but I know as much as clear, I am celebrating creativity so I know that, so long as I have this book with me, it is mine and anything that goes into there is my rights.

this also helps to not get it lost too! it is a good way to minimize and practice restraint. only bring this book if it is in a bag… and ONLY in your hand if that is all you have to worry about!

~ ~ ~

This is really long already so this is just the first step, as soon as you get your very own sketchbook and keep in mind exclusivity… you are on your way to breaking into the “comic making” stages!

Feel free to reblog or ask questions (or you can anon too)!

Until next time!

Pyratesque~

murmuredlullabye  asked:

we should talk about bilbo dies aus because we both seem to have a strange affection for them

Idk why I like to watch Thorin suffer it’s so weird man. Or maybe it’s because Bilbo. 

 I’m going to very quickly put links to the fics I have in which Bilbo dies because hey, self-promotion is important (older stories have shittier writing, fair warning). Then I’ll go on an incredibly long-winded discussion about why having Bilbo die and Thorin live is exponentially more interesting (to me) than vice versa, as well as some headcanon that explains Thorin’s “more grocer than a burglar” in AUJ to HEART EYES MUTHA FUCKA in BotFA.

The Time Given to You 

When Love Kills, What Choice Do We Have but to Die?

Farewell, Master Burglar

Say “I Love You” This Valentine’s Day

Alright, here we go:

Keep reading

anonymous asked:

So you seen this thing with hydra captain America

yup. it’s obviously Some Bullshit, will be dealt with by the end of the arc and steve’ll be back to being steve and it’ll have been mind control/reality warping/an alternate reality steve, and of course tom brevoort and co are lying in every interview about this stuff, because that’s what they do. steve wacker swore up and down that otto as spidey was forever, and he was, of course, lying. it’s the weirdest thing too, because we all know they’re lying, but there seems to be this weird tension where they have to commit to the lie, instead of like, “yeah, steve’ll be back to his regular self, but we’ve got an interesting story until then”. like, rarely are they ever not lying. logan is still currently dead, so they’ve got that going for them on this count, but that also can’t last for too much longer.

one of the things that gets me about all of it is the stonewalling to criticism, and i’ve been thinking about it today. print comics folks - a lot of creative folks, but i’m thinking right now comics folks, superhero or indie, editor or creator, just almost totally across the board - almost none of them really recognize or respect any kind of criticism, do they? i can like list off the amount i think who’d actually listen to concerns and critical thoughts from readers and critics on maybe two hands? talking just about marvel right now: brevoort obviously listens to no criticism whatsoever, alonso bends around any and all criticism, tries to redirect, or acts like there has Never Been Any Problems At Marvel Ever. slott? oh, oh god, his history with how he handles criticism is documented. from CBR to twitter. he doesn’t handle it well. any of it. for what its worth, he does occasionally apologize for going overboard with his ways (like his constant namesearching), he 1. still keeps doing that shit and 2. i can’t think of a single time he took a critique on his books actually seriously. bendis? well.

and i’d say nick spencer joins those ranks. this is hardly all of them, of course. just listing off examples. it goes across in a lot of DC as well, and in indie. a lot of comics creators and editorial types, especially those long in the game or getting in there, just don’t accept criticism, like, at all. you saw it in rick remender when he took flack for his Uncanny Avengers issues and his attempts to get salient with modern politics.

it’s this thing i was thinking about today, where i don’t think any of these creators would envision themselves generally as “perfect” or “the best”? the sort of general “oh, yeah, i like my writing and i have fun” kind of attitude. but once you launch any sort of criticism at them about their work? suddenly they’re flawless, and everybody else, ever, is wrong wrong wrong wrong wrong. about everything.

to some degree i get it, with comics companies having to wade through their share of nonsense complaints and angry letters about nonsense matters, but they don’t listen to or accept criticism from… anybody. about anything. delivered in any format, with any tone. it feels like this weird kind of collective thing in comics where everybody is Doing Great and nobody will ever say anything to the contrary. you see it in a lot of CBR interviews where they throw out nothing but softball questions and just ask writers and editors about How Great They Are. a bizarre bubble. they’ll never say they’re perfect, until you launch a criticism, then suddenly, There’s Nothing Wrong With Comics And You’re All Fools.

there’s this weird ego here, combined with the nature of the serial format - “i have the whole story and you don’t so you’re all mad for nothing” - that just keeps coming up, and coming up, and coming up. no writer in the biz seems to consider that there could be flaws in their works and that readers and fans with negative responses aren’t all cranks. nobody wants to listen, and certainly nobody wants to apologize. absolutely none of them ever want to seriously consider “perhaps this was in poor taste” or “maybe i was wrong”.

it’s a lot like what i’ve seen in standup comedy culture, too? often there gets to be this sort of expectation i’ve seen in comedians, in all kinds of creatives, where there gets to be this idea that you get to trash and insult and deride whatever you want, because you’re the Content Producer, but god forbid anybody take any criticism to your content.

they’ll never say “i’m always right”, but they’ll never say “i was wrong”, either. this modest brand of arrogance.

it’s also of course all shock bullshit, part of the general soap opera plot twist stuff that has been in superhero comics veins taken to the nth degree, and not even the first time this kind of thing has happened with cap (as i’ve seen people pointing out on twitter with panels), though probably the first time its been done this obviously farmed for publicity. they’ve done all kinds of shit like this, so that, in a sense, i’m somewhat inured to, the “aren’t you so mad you want to find out what happens”, it’s like, no, dude, i can see the wires. i want a solid character story, not The Biggest Twist You Could Cook Up.

and the funny thing is, for all the publicity they’ve farmed, it still won’t help sales. cap might get a brief bump, but as it is, the comics market is still too fucking expensive for single issue floppies for all those new readers they clamor for to jump into, and also, those new readers are - as has been demonstrated - not particularly fucking interested in this story. they’re angry, but also, they’re not gonna buy the fucking comic. a lot of them weren’t in the first place. why bother? 6-12 issue stories, 22 pages a month, 3.99 a month, for shit calculated to get you mad instead of telling a solid, contained story that grows on? that shit’s not appealing to the larger market, much of whom have been living on manga and webcomics which feed their needs much closer.

so i think about the ignorance, the derision, the hatred of criticism. the balking at criticism, the balking at genuine frustration, and the constant smirking artiste as it were about all of it, so “don’t you all look so foolish. i’m the writer, and you’re not. you don’t know what happens”, as well as if they can’t be displeased with the issue as it is. a serial format is responded to both as a serial, and as a whole. a lot of this requires benefit of the doubt, and the question is, “does this writer deserve the benefit of the doubt?” does this company? and… no, not really. they jerk you back and forth and tell you to wait and see and when you’re still displeased they act like you’re not there.

so i think and think about that reaction to criticism. not just in marvel, this is just the latest blowup. i think about the constant way writers and editors respond to all of it, and always, always act like “There is no problem here, there have never been problems here, and while we’re not perfect, you just all coincidentally happen to always be wrong.”

there’s a bubble in comics, especially among those longer in the game, and i dislike it. there’s a lack of editors to do more than basic plot checking and word checking and go “don’t you think this is in bad taste?” - but of course there is, because not only is the biz insulated, but they also live on those angry reactions. brevoort prefers angry fans, pretty much any way he can get ‘em. and they don’t care for people from the outside voicing concerns - any kind of concerns, from “the pacing here is bad” to “don’t you think this is in poor taste?”, and, y’know, with the people who have demonstrated, repeatedly, that they have no interest in actually listening, growing, considering they ever might could have been wrong? there’s no point in engaging with ‘em. someone might be able to get through to them, but it won’t be you, because they’re never really listening. they might be polite about it, they might let you state your concerns, but they’ll never really take them into account seriously.

like i said, there’s a very few amount who i think would react to criticism of any kind with anything but dismissal, be it polite dismissal, or furious dismissal.

people have already weighed in on this from a ton of angles, so this is the one i’ve decided to focus on.

this got long. comics are frustrating. spend your money on better creations, better creators.

Fic: As Time Goes By

It’s here at last! And not a moment too soon. My mid-season finale fic, which I promise has a happy ending! Enjoy.

Rating: T

Pairings: Rumbelle & Swanthief/Swanfire; Belle + Neal friendship.

Summary: After her return to the Enchanted Forest, Belle continues to live her life without Rumpel by her side – in hours, days, weeks and months.

Life goes on, discoveries are made, lovers are reunited, and time goes by…

As Time Goes By

The day after they return to the Enchanted Forest, Belle returns to the Dark Castle.

She wonders if it was the right choice, going to the place which held so many memories of Rumpel, both good and bad, but then she realises that this is exactly why she needs to go there. There is nothing else of him left, only her memories, and she needs to preserve them. She bids farewell to the royal family, to the dwarfs, to Jiminy, to all those she’ll miss so dearly when she leaves for her solitude. Yes, she will miss them, but she needs to be alone now, even if it’s just for a little while. There is too much change for her to take in at the moment and she needs time to process it, to learn to live with her loss and the sudden upheaval. She needs space to breathe and to grieve in her own way. Rumpel has been snatched from her just when they were finally reunited for good, without any of his insecurities eating away at their happiness. He had wanted a future with her, and that future has been so cruelly taken from them.

Keep reading