this might be from a conversation about tv but it works with my previous post

Q&A Transcript with Alex Hirsch at MomoCon 2017

Question: Before you decided to make Bill the main bad guy, did you have another character in mind that would have been the villain? 

Alex: Yeah, um that’s a good question. Uh, so, when we came up with the villain of the show, I knew that… I knew that Bill was involved. And I knew that Ford had disappeared due to some deal gone wrong with some villain next to the mystery of how Gravity Falls was all assembled. 

Um, but, I didn’t yet decide that Bill was that character in the very beginning, y'know? I had always imagined it was some sort of evil character somewhere kinda hidden in the woods. I wasn’t sure I could go with the Bill idea cuz I thought it would be too much like Twin Peaks, but as we got further along the series we discussed it among the repairs and we were like, ‘none of our other villain ideas were as good.’ Bill, Bill was weirder than anything else we thought of. Um, I remember there were other ideas. Strange monsters and government officials; some kind of cthulhu– some weird crazy old man. But nothing was ever better than Bill, so it ended up sticking. Probably somewhere around, y'know, season one– midway through season one, we started thinking we might be– might be on point.

Q: Was Grunkle Stan ever aware of McGucket’s connection to his brother? 

 A: Oh, oh that’s such a good question. Wait, let me think about that for a second… Uh… lemme see… I don’t think so. I don’t think Stan was ever aware of McGucket’s connection to his brother. Because, by the time Stan traded identities with Ford, uh… McGucket had already gone off the deep end– Was already y'know, had already created the Society of the Blind Eye; had already lost his own memory. So Stan would’ve really only known McGucket as a local obnoxious fisherman. 

And McGucket, probably somewhere deep in the back of his mind, was eerily just drawn to Stan in a way he just couldn’t put his finger on, because he thought maybe he knew him, but– I don’t– I think Stan was ignorant of that. Um, I think Stan… I think Stan looking through the journals probably should’ve put two and two together, but Stan’s not the best at book-learnin’. Uh, so… my guess is Stan wouldn’t have known despite that uh, that there’s a lot of tumblr art out there showing them as like the Scooby-Doo gang. I don’t think Stan ever really knew McGucket before.

Q: What episode do you believe came out the strongest and the most well rounded overall? And is it the same as your personal favorite episode?

 A: Oh gosh. Um. That’s a great question. Hmm… I probably feel, personally, that the strongest episode is uh, “Not What He Seems” just because it’s such a dramatic episode. Like, we know– We’ve never had an episode that dramatic. But, when we first pitched it to Disney executives… they thought it was bad. [laughs] Um, Because it didn’t have a lot of jokes in it? Like, I remember normally when we’re pitching our episode, executives can usually gauge how good they are by how much people laugh. People didn’t really laugh for that one, because it’s really tense. So we thought, maybe we’d screwed up. But, when the animation came back we were like, 'Oh! It’s GOOD that it’s tense. Like, it worked!’ Um, So, I dunno if that’s my favorite episode, but I think– that’s the episode we should’ve won an Emmy for, and I’m still pissed we didn’t. [laughs]

In terms of favorite episode, like… I dunno. I think the first episode that I really felt that the show was really starting to feel the way I wanted it to– “Time Traveler’s Pig” in season one. Like, that was an episode where Dipper had an interesting story, and Mabel had an interesting story, and uh, felt nostalgic, and based around the summer, and had a big secret callback to even previous episodes, so– I just remember when we first just got that episode back in color, I was like, 'hey I think maybe I like how I’m making this cartoon show,’ so I think that has a particularly fond place in my heart, y'know.

Q: Is Disney bringing you to SDCC or NYCC later this year to promote the journal and other books coming out? 

 A: Right, um, yeah, Disney– Disney… Disney-general and me, have like– we’re divorced. Like, they kept the house, and the pets. Y'know what I mean? It’s… we don’t like get dinner or anything. But, the Disney Publishing department, separate from Disney Television, they’re really cool, and enthusiastic, and energized. And they wanna make new cool stuff. Um, so I think it’s possible I might be at D23 this year, and it’s possible I might be at Comic Con, but I don’t have anything confirmed yet.

Q: In the scene where Bill is trying to convince Ford to join him in the Fearamid, were there any other jokes or story beats that were considered? 

 A: Which episode specifically are you talking about? [Q: The We’ll Meet Again scene.] Yea yea yea, We had a– Every scene that you’ve ever seen in the show has a ton of ton of stuff we’ve thought of and had to cut for time or other reasons. Um, I remember there was definitely a version of that where Bill was a lot trickier. Like, he sort of more successfully lied to Ford about like: 'We’re actually going to make the world a better place. Though I present myself as this chaos lunatic that’s just my personality.' Like, 'here’s ways in which we’ll IMPROVE the universe.' 

Um, but it felt out of character. We thought it was much more like Bill to just draw smiley faces in oceans and eat the sun and just– hope, that the force of his charisma could convince Ford that that was a good idea. But uh, I feel like– I feel like Bill can be really really tricky when he wants to, but by the time Weirdmageddon showed up he’s so impatient, and he’s so convinced that he won, that he was no longer like, this brilliant chess master he used to be. He’s like, 'alright let’s do it! Do what I want or I’ll eat your face.’ Like, no more– No more, like– He wasn’t as smart a tactician as he used to be, y'know?

Q: Was “We’ll Meet Again” always the song you were going to use? 

A: Oh yeah, it had to be that. It was like… I think I’d just seen Dr. Strangelove recently around that time and it stuck in my head. It seems to me, if Bill has a taste in music, it would be, like, old timey music that ranges from either weird to obnoxious to obscure. 

Uh, Disney wanted me to cut it cuz it cost them a bunch of money to get the rights, even though it’s so old, it still cost them money to get the rights. And I just… said, please. Over and over and over again. I would send an e-mail that just said, 'please.’ And send another e-mail that said, 'please.’ And I would send another e-mail that said– Yeah. [laughs] Eventually I wore them down that they’re like, 'alright we’ll spend thousands of dollars.’ [laughs]

Q: Are real comics coming? 

 A: You want comics? Would you read Gravity Falls comics?
[Audience screams]
[Alex leans his ear forward]

A: It’s a terrifying noise isn’t it, Michael? I was at a… Gravity Falls gallery, and like, they didn’t tell us how many people would show up, and it was like, THAT noise echoing from every corner. And uh like, I think I lost a year of my life. My hair started going gray, and it was like, 'oh my god, this is too much love! It’s terrifying.' 

Comics. I would love to do Gravity Falls comics. Um, I have so many… One of the tough things about a half hour show like Gravity Falls is every now and then we think of an idea that we really liked, but it was too short for a half hour; 'oh that’s only five minutes of story’– Or it’s too specific and weird. And so I have tons and tons of ideas of the show that y'know we’d like to explore this character, we’d like to show this secret, this storyline. So, I’d love to do comics. But, that’s up to Disney Publishing, and I’m trying to convince them. So, hopefully, I’ll have something exciting to announce in not too long.

Q&A with Stan and Soos

Q: Is Dipper adorable or manly?  

Stan: Dipper smells like baby wipes. Even if I cut off all my shoulder hair, and taped it to him, he wouldn’t be 1/10th as manly I am.

Q: What would you do if Mabel told you she had a date to prom? 

Stan: I would… invite the gentleman over, have some coffee, tie him to a chair and interrogate him for 10 hours, and maybe throw him in the pit. [shrug] Hands off my neice, kid!

Q: What would happen if Soos met Giffany again? 

Soos: Oh yea, I recently downloaded this couple’s therapy sim? Uh, I think she and I would have to talk about our issues and pass around a conversation pillow, and really work out these struggles. Cuz she’s got some problems, dude.

Q: Soos, why are you so perfect? 

Soos: Yeah, uh, my grandma said that a whole bunch of doves flew down and formed the shape of a perfect angel over my crib. I dunno, dude I guess I was just born that way.

The Return of Rumor Control:

With filming starting again on Thursday it’s time for some rumor control again.

  1. The entire schedule for SDCC has not been announced.  There are several open blocks of time in Ballroom 20 still including two hours on Friday and the 10AM slot on Saturday which Once has always occupied.  The only ABC properties that have been announced are Marvel shows that were announced by Marvel studios.  There is at least one other ABC show that is certain to be at SDCC (because they’re already putting up the advertising in San Diego) that also hasn’t been announced yet.
  2. The D23 panel is literally on Lana Parrilla’s birthday.  Do not read anything into her absence.  
  3. Actors are paid by the episode not by the hour.  While they can film a bunch of scenes for different episodes while they have an actor in Vancouver (say Jennifer Morrison) they would have to pay her by the episode.  So 10 short three minute scenes spread over 10 episodes would cost them as much as having her full time there integral to the plot for ten episodes.  The same applies to all actors.  The show also has to pay actors if they use their face in either archive footage or pictures.  Not as much as if they were shooting new material but it’s not trivial.
  4. They are not filming in Seattle.  They are filming in Vancouver.  They have not moved production.  They have changed primary setting.  Though apparently we’ve not seen the last of Storybrooke given the latest script tease.  So presumably there will be some Steveston filming still.
  5. Actors union rules state that they have to have 12 hours from when they leave set (including getting out of wardrobe and makeup) to when they have to be there the next day.  This is called “turn around”.  There are fines to be paid if they violate turn around rules and if they do it often they will face serious repercussions from the union.  When you are watching filming reports keep in mind around when an actor left set.  So say an actor was filming until 2AM one night.  They can’t even be required to be in the makeup chair much less working until 2PM the next day.
  6. Alison (and any other child actor to include Jared for any guest appearances) has limited hours she can work because of child labor rules for the entertainment industry.  She can’t work after a certain time of night.  She can only work a certain number of hours per day.  She has to spend a certain amount of time in school.  These rules are scaled by age so the younger the child the shorter the window of time the production can use them.  Infants can only be on set for very short periods of time which was why we saw a lot of very unconvincing dolls last year.
  7. Studio space is expensive.  Standing sets are expensive.  While they can take them down and put some in storage they’ll need the space for new sets.  Don’t expect to see a lot of say, the Emma and Hook’s house because since the show isn’t primarily set in Storybrooke anymore they wont waste the limited space keeping that set up.  Given that the Charmings moved into another house we’ll likely never see the Loft again.
  8. Remember that a scene that might take hours to film could be a minute or less of screen time.  Remember that exterior filming reports only tell us who has filmed outside and entire plots will be unknown simply because they will be shot on stages.  In previous years there was a certain amount we could tell by the cast’s social media use.  Rebecca Mader was particularly addicted.  Bobby, Colin, and Andrew rarely use social media in that way and Lana has done so less in recent years than she used to.  You should assume we will know less and have less information this year.
  9. Once Upon a Time uses fake names and often writes either new dialogue or reworks old dialogue in casting to avoid spoilers.  The casting for Henry’s love interest whoever she may be calls her “Carol” and that’s almost certainly not her name and it uses dialogue lifted and only slightly tweeked from episode 1.17.
  10. All set spotters have favorites.  When reading set reports try to remember that set spotters in this fandom have a history of a certain amount of misrepresentation either intentionally or not.  People who go to set may not want to take pictures of characters they don’t like.  Others will only take pictures of their favs.  Try and take things with a grain of salt and understand that the angle that a set spotter’s picture is at does not usually represent the angle you as a television viewer will see the scene.  Additionally, several set spotters have expressed disinterest in continuing to go to set because their favorites have left the show.  This is understandable.  Do not badger people about why they have stopped going.  That’s their business and their right.  But on the other side of the coin try to remember that some many be angry or bitter that the show has continued without their favorite.  Try and avoid getting drawn into active negativity without realizing it.
  11. When you see a spoiler always ask yourself “how would a fan know this?  Is that information even in Vancouver yet?”  Try to be a smart consumer of information.  Most fan spoilers come from call sheets.  These are daily schedules (with predicted shooting for the three days after that day) that list what actors, locations, and a brief description of the scenes they are going to shoot that day.  So if you have one call sheet you can tell who will be filming for the next few days.
  12. There are people who plant fake spoilers.  LChat, twitter, and anonymous messages sent to high traffic tumblr blogs are the way these are spread.  Question anyone who claims to work for the production or know the inner workings of what ABC will be doing.  Last year there was someone on one of these kinds of internet forums that claimed among other things that the show was not going to be airing certain days in December (it did) that it was being moved mid season (it wasn’t) and that ABC hadn’t even considered renewing it (it obviously was).  This guy literally talked about what the scheduling boards in the ABC executive suits looked like.  As if he was sitting in Channing Dungey’s lap.  Many people believed him.  Another person or persons repeatedly posted long sets of spoilers deliberately designed to anger fans by claiming that the show was all going to be about one ship and that this person was a production assistant and they were posting these things so the fans would know that they were being jerked around.  None of this person’s spoilers were true.  
  13. Conversely if you do visit set don’t assume that what a given crew member tells you is real.  Some of them are bullshitting and don’t know (many especially on location days are hired for the day and know nothing beyond what is on their call sheet).  Some of them like the attention.  Some of them like to mess with people.  I have had a number of friends of mine go to set and be straight up lied to by crew people.  Often about things my friends knew to be untrue when they were being told.  Example a couple of people were told by some crew member that they filmed Emma and Hook’s wedding on the beach during the filming of 6.10.  Colin had been seen and photographed by a fan on his day off that day and the photograph was circulating on twitter.
  14. Do not listen to fans to get your understanding of ratings once episodes air.  Go find an independent source and pay attention to the show’s relative ratings against the entire slate of ABC’s hour long dramas.  There were a lot of people who would have told you that Once was never getting renewed last year and those people ignored the dumpster fire the rest of ABC’s ratings looked like.  Several ABC shows that rated much worse than Once were renewed.  I recommend following The TV Grimm Reaper on twitter.  But be warned, he will make fun of fan theory nonsense.  Don’t get your feelings hurt if he mocks you or your favorite theory about if the show will be renewed or cancelled.  He’s a raw numbers guy.

The bottom line is this.  Be a smart consumer of information.  Try and learn a little about how television production works and it’s limitations.  Know that there are people in this fandom who actively want to ruin the viewing experience for others either because they ship something different or because they don’t want the show to succeed at all in it’s attempted re-invention.

Rurouni Kenshin Fight Sequence Analysis: Choreography

                                           Elements of Cinema

The most popular elements that passionate fans and dissenters of the RurouKen film trilogy all seem to agree on is that the action scenes are awesome. Dissenters usually say, “just watch it for the action.” This always struck me as a strange thing to say. I think it’s because it was always intended to be a slide against the film, as though to say, “The only thing the films did well was the action,” similar to how some might say, “Watch Transformers for the special effects.” 

This actually got me thinking, though. What makes a fight scene? If we broke down a fight scene to its cinematic elements, if we peek behind the curtains, what composes the fight scenes that everyone, including dissenters, would argue is this film trilogy’s strongest element? And to it’s fans, what makes it better than its competition? What did Team Otomo just get right?

The truth is, those questions are gateways to more questions; film is different from any medium because film is alive. It’s evolving, moving towards new directions, restructuring old words and phrases to create beauty and meaning in new ways. RuroKen is no different, but if we’re going to understand how these elements congeal together to create the magnificent and electrifying action sequences fans of this series are going to enjoy, we need to understand those elements in their own isolated contexts. There’s a lot to keep track of, and a lot of these posts will overlap with one another since film is collaborative, so always make sure to come back to previous posts to freshen up and see how things come together. 

Also, if we’re going to understand what Rurouni Kenshin does well, we sometimes need to look at how other fight scenes are crafted, sometimes to terrible results, which means we will occasionally be drawing on other fights from other films and TV shows.


The Dancers of Cinema: Choreography and Action Direction

This post MAY contain spoilers for the following: (you’ve been warned guys):

  • Game of Thrones Season 4
  • Rurouni Kensin trilogy
  • Star Wars The Phantom Menace

The most obvious and exciting element of any action sequence is choreography. This doesn’t always apply to just fighting; stunt coordination, chase sequences, and so forth, require very precise positioning between the actors and the camera to capture the intended effect of that sequence. To a choreographer, also known as an Action Director, designing a fight sequence can be more than just exciting violent titilaton; it can be a valuable lens of which to view our characters. 

The Action Director in our case is Kenji Tanigaki. Bringing his flair and experience from working in Hong Kong and Hollywood action films and working with some of the biggest names in action cinema such as Jackie Chan and Donnie Yen, Tanigaki-san works closely with Otomo to make sure that everything goes well and ensures the actors are perfectly safe. He is also responsible for making every action in the film cinematic and crisp visually. This can get very elaborate and set up varies between directors, but the end result, if done right, is usually incredible. Even his peers respect Tanigaki’s skill; look at this tweet from Gareth Evans, director of The Raid and The Raid 2. (Warning: Language)

First thing they need to make sure they have right is the casting and action team. The actors typically are the ones that need to do these moves to feel authentic. This isn’t universal and can vary depending on director or production team. This mostly commonly in American or Western productions as these actors are often high profile and the right actor isn’t always the best fighter even with training and 6 months isn’t enough time to make them look good. What’s worse, not training seriously can result in injury, which might interfere with scheduling for other shoots that actor may be doing.

In these sorts of productions, especially those with a tight shooting schedule, they will cast stunt doubles to do the more complex movements that the character might demand but the actors are unable or unwilling to do (Unless you’re Leo DiCaprio and your director is Alejandro Gonzalez Iñnarítu). Here’s an example. This is from Episode 8 of Game of Thrones, “The Mountain & The Viper” (Slight spoilers).

Originally posted by freakyharmony

Here is a set piece clothed with a flurry quick cuts of multiple angles (coverage) of a single piece of choreography done in several takes. We’ll discuss this particular editing style in the Editing section of my series, but the point is, it looks really cool. Pedro Pascal (The actor for Oberyn Martell, this particular character) begins and ends the shot, and it looks as though it were him the entire time until we zoom in. 

Now this isn’t necessarily bad or even terribly distracting if done right. It’s an insurance policy for the actors since fight choreography is extremely exhausting work and training for months on end might not be enough or even an option, especially for the tight shooting schedule found in the production of Game of Thrones. 

This small excerpt took a lot of designing, practice, and rehearsals, not just by the stunt team and the actor/double, but for the crew behind the camera. They probably had to do multiple takes, some with Pedro and some with his double, and edit it rapidly together. They also set up coverage from multiple angles for the editor to have as much footage as possible to assemble an acceptable cut. It’s pretty tiring work just for one seemingly tiny little throwaway and inconsequential piece of choreography.

That being said though, the small bit can show us a lot about the character of Oberyn Martell himself, so it definitely has a place here. Oberyn is pleasing the crowd, showing off his prowess to his audience and THE audience. He’s a bit of a cocky guy so it fits right in with his character in my opinion.

I bring this up to create a negative because this is something Otomo and Tanigaki ACTIVELY avoid. Let me explain.

In Otomo’s action scenes, the emphasis is more on the actors rather than the the movement of the character. His blocking (the arrangement/placement of elements such as characters and objects within the frame) for fight sequences mirror the standard coverage of a conversation with two or three cameras depending on the set piece. Once again, I’ll explain in detail later, but what this is meant to bring up is that his emphasis, as is the emphasis with dialogue scenes between characters, is character.

What I mean is that the camera is usually emphasizing the face of his actors along with their individual movements to show the audience their state of mind and also to show the audience that it’s the actors doing the movements.

 This helps increase immersion, as well as simplifies shooting because the cinematographer (Director of Photography or DP) has a bit more freedom to shoot naturally rather than manufacture angles where we can introduce a stunt double and return to the actor in editing. I refer back to my GOT example. The editing cuts between wide angle and long dolly shots to make sure we can’t see the stunt double’s face as we return to a medium shot before and after the little stunt is done is something Otomo isn’t keen on and neither is Tanigaki.

                     The Men and Women Behind the Moves

A fight sequence is a programmed dance, coordinated moves and visual cues that must be hit for maximum effect but to actually be effective, it needs to seem completely organic and representative of the person fighting. The fighting moves need to come from characters themselves and when done right can illustrate a lot about a character. 

When the choreography comes before the character and feels too rehearsed or unnatural, you can actually distract from the drama of the scene as well as offer no insight visually about the characters fighting. Consider the Star Wars Prequel Trilogy. 

This may look cool because its fast, the moves are flashy and elegant, but from this small bit of choreography and the entire fight itself, we can’t really tell anything about these characters. We know one’s evil because of the color of his light saber (we’ll discuss this in another post), but beyond that, we don’t actually know Darth Maul or how brutal he is, other than he’s ready to kill Obi-Wan’s master and does so. Aside from the cool costumes, there is nothing that visually separates these characters from one another in terms of skill or style. 

Compare this with  the first fight sequence of the first live action movie. Ya’ll know what I’m talking about.

Originally posted by suzuyajuzoo

This fight sequence delivered a lot of critical information we needed to know about Kenshin without him having to say a single word. In the opening text of the film, we’re told of the Battousai’s legendary cruelty, but to see it was a different story. His fighting style tells us three crucial things:

  1. He’s fully equipped to fight and overcome multiple opponents at once, emphasizing his use as an asset in the war effort. He’s fast and kills efficiently, stopping neither to torture or gloat. He neutralizes the threat as quickly as possible.
  2. He has high manuverability to get in and out of his opponents space, suggesting master level swordsmanship skills, especially since he is the only character in the entire scene that we’ve seen with this proficiency. 
  3. He economizes his movements, so there is no motion goes to waste signifying he is ruthless and very efficient in killing. Notice how in the gif above he cuts one opponent and it smoothly leads into him facing the next. He is every bit deserving of the legend we’re told in the opening text.  

Originally posted by suzuyajuzoo

The interaction he has with Saito in this scene shows us that they’ve had multiple inconclusive encounters on the field and Saito managed to survive them, subtly signifying to us that Saito is at the very least his equal, which becomes important given what motivates the forthcoming action scene 10 years later where he completely dominates Kenshin and cuts his shoulder with the Sakabatou. 

 This is an example of how fight choreography can go beyond being cool action and can actually be a tool to help tell the story (the second half of this series will be focusing on just that). 

Originally posted by sexe-fitness-problemes

Later in the film, after these two same characters reunite 10 years later and have a duel, Saito brutally overpowers him. In contrast to Kenshin’s manuverability and speed, Takagi-san designed Saito’s moves to utilize his weight as he’s physically taller and stronger than Kenshin. He’s not as fast but his strikes hold an insane degree of power as we see when Kenshin attempts to parry and Saito manages digs the blade into his shoulder. Saito gives Kenshin a significant amount of trouble and this piece of choreography shows us that Kenshin’s skills have greatly diminished from the opening action sequence. He’s rusty, and if he fought Saito for real, he’d likely die. This once again factors in the story as it sets up Jin-e’s plot at the end of the film to draw out Kenshin’s fighting ability through sheer anger by emphasizing the difference between Kenshin’s current skill and that of his former self.

Another example where choreography transcends its role of entertainment and spectacle and becomes a form of visual storytelling is when fighting Gein. Notice how Kenshin seems to be having trouble here, but after Gein begins to aggravate Kenshin, we get this:

We even get subtle foreshadowing as Kenshin cuts his nose. This foreshadows what he’ll do to Jin-e when he gives him a similar wound after Kenshin is slowly beginning to revert back to the mindset of his assassin days. Even if you don’t have subtitles and have never seen RK before, you can grasp what’s happening just from the visuals.

My absolute favorite example of how choreography can be a powerful indicator of characters and their state of mind is the final fight between Kenshin and Shishio. (The video is below, please check it out before reading on).

Let’s talk about this brutal bastard for a moment. This single fight right here lasts about 2 minutes in the film and to the amazement of everyone, it is one of the most brutal fights I’ve ever seen on film (and I watch A LOT of martial arts films). 

We see glimpses of his utter brutality earlier in the second film when we watch the flashback of Shishio at Toba Fushimi. 

This scene actually sets up about as much crucial information about Shishio as it did Kenshin:

  1.  He is ruthless and unrestrained; his moves emphasize the maximum amount of pain and brutality, ensuring suffering in his opponents before they die.
  2. He fights dirty, not being above using human shields and considers life expendable.
  3. He takes sadistic pleasure in humiliating his opponents, as seen when he stomps on an opponents head and presses their faces into the dirt as he brutally impales them.

When Kenshin-gumi finally arrive to challenge Shishio, we see Shishio’s choreography speak volumes about him.

In the small clip I’ve posted below, we can see that Shishio is psychotically brutal. He isn’t graceful or formal, he lacks all the elegance of Kenshin’s fighting style, and he is sadistically toying with his prey like a cat taunting a mouse. He is less interested in slicing Kenshin as in a formal duel and more interested in repeatedly bashing his flaming sword into Kenshin’s face or pummeling him into a pile of red-headed pulp. He makes no effort to dodge Kenshin’s moves. He reacts to the pain they cause, but instead of deterring him, they excite him. He isn’t above pulling dirty moves like slamming Kenshin repeatedly against a wall while chuckling, or biting a chunk out of Kenshin’s neck. He’s designed to be the exact opposite of Kenshin. 

Tanigaki, when planning a scene of this magnitude, needed  to take into account several elements that can impact what the audience needs to know about these characters. How long has Kenshin been fighting? Is he injured? Shishio, is he ready to fight? Is he reluctant, eager? How would Shishio fight? Does he fight with a flowery style like Kenshin? Is he evasive or does he just take hits and overwhelm his opponents? 

These kinds of questions are some that he needs to ask and work out with the director and actors on set to figure out the fight scene and choreography.  It’s not an easy job. After his stunt team performs it and does camera tests to show Otomo as well as be prepared to revise if Otomo and his DP want to place the camera in certain places, the set of moves are then taught to the actors who interpret them in the context of their character, and then perform them in excruciating detail. Just imagine he nightmare he went through filming the four vs one fight scene at the film’s climax. I think that fight scene deserves its own post some day. 

                                     Reality vs Cinematic Realism

As impressive as they may be, the final obstacle a choreographer must deal with is the camera. Some moves may be practical, but they don’t look good on screen. The moves need to test well for the camera, which is why there are cameras present during rehearsals. 

This helps the director and the cinematographer know in advance what the shot is going to look and give feed back to the Action Director to adjust certain moves if they don’t test well or are illegible on screen. That being said, sometimes this means certain moves need to be exaggerated, heavily expanded on, or redone entirely, which may not be in accordance to the real life basis of those techniques. The biggest example of this is actually a fan favorite technique… The Battoujutsu that Kenshin earned his name sake for.

This looks good. In real life though, this stance is incredibly impractical, and to help me illustrate that fact, I present you real life superhuman Iaido master, Isao Machii.

This is the real life Battojutsu stance. Notice how different it looks from Kenshin’s.

Originally posted by silenthill

This is the technique performed:

Originally posted by marshallastr

Why did Otomo and Tanigaki change it? I mean, it doesn’t look to bad right? This all ties in to how Kenji Tanigaki choreographs and speaks to the main element that TeamOtomo emphasizes throughout all of these action sequences: Drama. Drama comes first and in good cinema, drama doesn’t just stem from the writing; it’s also visual. Kenshin’s stance is very exaggerated compared to Machii-san’s because Hiten Mitsurugi was designed for the camera. This may be obvious to some, but remember that the next time we see a film with unrealistic choreography, it might be because it looks better. 

Don’t misunderstand though, Machii-san is extremely impressive, but on film, it doesn’t have the same gravitas or dramatic flair it does in RK. This is because Machii’s battojutsu is designed to actually kill; it’s a practical move with no room for flair.

 Tanigaki probably adjusted the stance because, arguably, it’s not as visually interesting and doesn’t work as well with the camera  because its much too practical and restrained. Otomo envisioned the Battojutsu strikes to carry a lot of narrative weight, and Tanigaki has to interpret that with considerations to the camera. You might think, “well, I thought Machii’s looked cooler.” Sure, you may be right, but it wouldn’t work on camera the same way Tanigaki’s “Sou Ryu Sen” does. How do I know? Because we actually do see Kenshin perform Battojutsu accurately.

Originally posted by pedroam-bang

This is what it would probably look like this in real life, which works for this particular instance. Our reaction is probably like Eiji and Misao’s in the background. But when Battojutsu becomes the point of the whole fight, the finale or the ultimate technique, it can’t look like this. It needs to be dramatic, it needs to be cinematic. Compare with this: 

It’s slow, the stance is heavily exaggerated but the tension rises. The slow moves emphasize this epic moment; because we know there’s going to essentially be an explosion of motion, the slow build up tenses us with anticipation. We know these two are going to go at it, and the exaggerated stance tells the audience visually, even if you have no clue what battojutsu is or looks like in real life, that this is serious and this moment is climactic. 

The choreographer doesn’t just have to adapt the movement of characters to look good on camera, they need to make every move cinematic to fit the tone of the scene. They need to design a move after carefully considering whether or not it looks good on camera. Multiple camera tests are needed in order to ensure they get the look just right and months of planning go in, just to film a tiny little scene like this battojutsu duel. Impressive, huh? 


                                               Final Thoughts

All in all, Rurouni Kenshin’s choreography and stunt team all work day and night to build an aspect of the visual language of this film. Their choreography spellbinds us, shows us insight to their characters, as well as sets up different tone, and whether we laugh:

Originally posted by takeruandcaterpillars

or cheer:

Originally posted by lynxyz

They are masters of controlling what we see and how we feel about it and if done right can create truly memorable drama without being tied down by dialogue. I have no doubt in my mind Kenji Tanigaki and his team are a large part of why this worked as they took what we loved from the manga and brought it to life with a wonderful stunt team and actors and we should applaud their efforts. 

These are some of the most exciting action sequences to make it to the screen, up there with Bruce Lee films, Ip Man, and the Raid movies. Great action, great drama, and great story telling; that’s what this is all about folks. And this is where I leave you to go work on the next installment; See ya guys!

                                             SPECIAL THANKS 

  • To everyone for reading
  • HYRK for giving me an avenue to write about this wonderful series. 
  • To the people who let me borrow their gifs. I know many of you worked so hard on them and they’re really helpful. 

DISCLAIMER ABOUT GIFS: A lot of the graphics I used are crowd-sourced. I got them from Tumblr’s auto-find system they implemented or on google. If you see a gif without proper credit and its yours and you’d like some credit, please contact me and I’ll designate everyone to your blog as well as give you a credit in this section of the post. 

Bye, CA!

Okay, so by now you’ve probably heard that Phelan, Lindsay, Andrew, and I are the most recent folks to exit TGWTG/CA. If you haven’t, well, you have now. But I’ve gotten a lot of questions about it, so here’s a long post explaining what happened as far as I’m concerned. 

(EDIT: Clarifying none of the exits outside of Phelan had anything to do with me, and even then Phelan and I had been planning on leaving for quite some time.)

(EDIT 2: I didn’t think this would be an issue, but let me also clear up who Mike is. Mike Michaud is CEO of Channel Awesome; Mike Jeavons is the video producer and has nothing to do with any of the events listed here.)

So was I fired? Well, yes and no. I was let go, but calling it being “fired” implies I worked for CA, and I did not. The only people with contracts/a payroll are those who work directly for them in Chicago. No producer has ever been paid by CA, and that includes the anniversaries. All profits from those, including the DVD sales, go directly to CA, and we were paid in “exposure” and “a free trip with our friends.” The only contracts we ever had to sign were for the anniversaries, mostly to sign over to them any crossovers we filmed (to pay for our trips there). So in actuality we were not on a “free trip” with our friends; we were working off our trip while also acting in a film we would have no profit from (the exception being commentaries, which we could keep). If we questioned this, we would be told we didn’t have to go and that was that. We did get a free copy of the movie for ourselves, if they remembered to send it to us. If you didn’t get a copy of To Boldly Flee, don’t worry, neither did I. One of Mike’s favorite things to tell us was how great it was that they hosted our stuff and never asked for a cut of our profits. 

ANYWHO, my exit starts with the midrolls and Patreon. I’d been struggling for awhile to pay the bills, and ad revenue was down, and one of the things keeping me afloat was extra midrolls, which weren’t extremely popular. But I also had to do that to make barely enough to live, as this is my job. So while I’m in Chicago, Mike corners me while I’m alone and proceeds to tell me my midrolls are screwing everyone else by making people turn on adblock. It was very hostile, unprofessional, and uncomfortable. I told him I needed to do that to make enough money to live, he didn’t care (and also told me they left up comments about the midrolls as a hint to me, apparently), and it ended with me crying in a bathroom over how I was going to pay my bills. This was followed shortly after with a call from him and Doug mandating how many midrolls we were able to use, among other insulting things. Doug suggested I simply make more videos, like his TV show vlogs, because that was just his “work ethic.” I, of course, wouldn’t know about a work ethic. Mike was also unaware that I’d been posting on Sundays for 3 years, and implied that videos that weren’t OLPs didn’t count.

Anyway, I’m looking for alternative ways to make money, and Patreon is starting to do well for some folks. I decide why not? It wouldn’t hurt to try it out. So I start one up, and ask if Mike can put a link up to it under my next video. Mike and company do not know what Patreon is, and have not checked, because they’ve decided in their heads what it is. So he tells me I’m not allowed to promote it. I explain that it’s like an ongoing Kickstarter, and he tells me they won’t promote those either. This is despite them having already promoted Nerdquest stuff and their own Indiegogo, which you might remember was given $90,000 for something they have yet to produce.

(Side note: how many times does it take to film a game show pilot? As it turns out, at least 17, most with the same questions and guests. The other shows don’t even have a title, much less any start on production.)

Incidentally, the reason I don’t use as many midrolls now? Patreon. If they’d had their way, I’d still be broke, and people would still be using the same archaic system.

Rob then messages me and tells me adding Patreon to midrolls is a “slap to the face” and that their Indiegogo was “executive authority." 

Suede had made a video about the pros and cons of Patreon, and they told him he could not post it on the site. We weren’t allowed to put up any links, and only after the news about Suede got out and they looked bad did they tell us we could do a promotion at the end of our videos. After many of us had filmed them, they randomly told us they could only be 30 seconds long. I don’t know why.

Fast forward to now, and I see that they’ve posted Brad’s Patreon video on the new site. I ask Mike why it’s okay now, and quote the previous conversation with Rob. He tells me there was no reason to bring that up again because they’d said it while they were "still on the fence” with Patreon (“slap to the face” = “on the fence”). I told him, yes, there was reason to bring it up, because they never told us any of that was okay now. About 50% of the site’s problems could be fixed by them simply telling us things. I told him they were being hypocrites and should apologize, he deflects me, and I told him they’re always making excuses why things aren’t their fault. 

So he asks me if I have time for quick call. I tell him no.

2 hours later, I’m away from the computer and Mike creates a new convo with me, him, and Doug. He asks if I can talk now. I don’t answer because, again, I am away from the computer. He waits approximately 15 minutes, and then tells me because I’m ignoring them they’re taking my stuff off of the site and letting me go. My stuff is immediately removed, which, coincidentally, is the only thing they’ve updated since the new site has gone up. Keep in mind, when the Noah incident happened, they never let him go, they simply kept extending his suspension. I was never even put on suspension. And he got a nice farewell post! 

(Edited to add that Mike has been known to stop contact for weeks at a time and, to think he’d be available within 15 minutes of any contact is laughable.)

They’re getting a lot of bad PR right now, which probably could be fixed if they hadn’t fired their PR person the day after her surgery. 

The site has had many, MANY behind the scenes issues, and ANYONE who has said anything has been labeled a troublemaker. Also, anyone who has said anything is gone now. It is a site fueled by yes men and denial, and many broken promises. They’ve referred to the other producers as “children” on more than one occasion, which is as patronizing as it sounds. The site has ALWAYS been about Doug, and they don’t care about anyone else there. 

But what does this mean for videos? Nothing, actually. Us former CA members are still making videos on our own sites, you can find me, Phelan, and Andrew on, Lindsay on Chez Apocalypse, and I encourage you to continue to support folks who have or will leave the site. The producers are still friends, we will still work together, and we still love what we do. 

tldr; I was let go for being away from the computer for 15 minutes.

UPDATE: Relevant links, if you’d care to read the convos yourself:

An Intern’s Guide To: Interning

Yesterday I turned 19. Meaning today it has officially been one year since I claimed the title of intern. That’s one year of intern knowledge, and then some, that I would like to share with you. 

Let’s begin with a bit of background. I lost my intern virginity last summer. I started applying in spring and, to my surprise, heard back from all the magazines I applied to - bar one. But their Twitter pic hasn’t changed in a year so I’m not quite sure what’s going on there. I ended up becoming an editorial intern at two magazines. Both of different genres - I figured it’d be beneficial to  get a diversity of experience. The first was a fashion magazine and I absolutely loved it. It was the first magazine I set eyes on and I even modelled my entire CV around one of its covers (more on that later.) I enjoyed it so much that I re-arranged the dates of my next internship just so I could stay longer. I woke up every morning last summer looking forward to what my day had to offer. Even though I struggled to afford travelling into London everyday, and got achey eyes from hours in front of a laptop screen, I began each day with a flurry of butterflies in my stomach because I loved writing for them so much. It felt like the right fit from day one. Despite arriving 2 hours late on day one that is.

I was given so much freedom to write exactly how I wanted to — much different to my next internship, where despite the fact it was a much younger magazine, had a more traditional approach with its interns. Everything would get sent back with highlighted notes and once it was finally published, lost all remnants of its initial vitality, but in turn gained the slick and polished voice of an edited feature.  I did learn a lot from all that editing. Things they’d usually teach you in journalism school like “numbers under ten are expressed in words.” Not only did I learn a lot but met some really wonderful people.

Despite each internship’s differences, both editors seemed happy with my work and expressed they wished I could stay longer! I now write for the first magazine, which is beyond what I could’ve imagined when I began applying last year (have a read of my elated response to first-time publication here.) I’d like to stress that I had no contacts nor family members who have a clue about this industry. If I can do it, you most definitely can too! So from me to you, here’s how to become an intern.  

Find Your Own Experience.

High-key every intern’s #goals

Before writing your CV you need relevant things to fill it with. Instead of waiting for opportunity to knock on your door, why not make your own? With the Internet at your fingertips there is no excuse. Gaining experience and building a portfolio is as simple as e-mailing your favourite blog and asking to contribute an article. Starting your own blog and making sure it’s in tip-top shape when future employers decide to Google you, and sincerely reaching out to growing online platforms asking to write for them. In the beginning I built my portfolio through Twitter search. I would search key phrases like “bloggers wanted” or “writers wanted” and volunteer my services (@UKFashionIntern is fab for this). You’d be surprised how far a well-composed e-mail can get you! Experience wise, you really don’t need anything fancy, you just need to show employers that you’re competent in the basics. So e-mail the editor of your local paper and ask to shadow someone for a week, or get down to your local radio and volunteer your time for a few days. If you’re at school or university make use of all the opportunities to write for the magazine or paper. This is all classed as experience, will build your portfolio and get you suited for an internship.

Stand Out.


I think this is most important. Especially if you’re lacking in the experience department. It’s imperative to set yourself apart from all the other candidates who have the same or more experience than you. Two ways to get your application an eyebrow raise are your e-mail subject line and the aesthetic of your CV. Editors’ inboxes are filled with hundreds of e-mails a day so use your subject line to stand out from all the other intern e-mails. Make it short, concise but interesting so they have to read it. I’m not sure where I came up with mine, but I definitely did a ton of research, looked at lots of examples and steered away from the conventional. Think of it like a headline, but always ensure it’s appropriate. 

Don’t be afraid to get creative with your CV. Fashion and media are industries where creativity is celebrated after all, so you can afford to push boundaries with your application (although as was suggested to me by Heat’s Senior Editor, simplicity is often better). It’ll make you memorable and give you a chance to show your personality and how badly you want that internship. Think of the dozens of black and white word documents an editor receives then *boom* in comes your creative piece of curriculum vitae. At one of my internships, the editor showed my CV to the entire office and asked how I created it. I used photoshop (good way to showcase photoshop skills) in order to create an infographic CV. Infographics are a succinct means of getting your experience across, way more visual and fun to look at, and a great way to play on human psychology (psych student coming thru). Who wants to read through dozens of identical applications when you could present the same information through image, colour and an attractive aesthetic. Chances are they won’t be glossing over your CV. It’s different to the usual application so they’ll take note. If you dont know how to use photoshop - like me pre-CV - just google everything. Google is your friend.

Be as modest or as extra as you please

For infographic inspo I did a Google and Pinterest search for creative CVs. I saved my favourites and used them for inspiration on how to design my own. As mentioned in the intro, I based the colour scheme of my CV on the cover of the first magazine I applied to. Partly because the colours were soo beautiful, and because I wanted to impress them. I literally used a colour code finder to find the exact colours. If that doesn’t show how bad you want that internship I don’t know what could! A strong subject line and a pretty CV are bound to give you a good footing in the application process.

Here’s a buzzfeed link to CV ideas you could use for any job, not just creative ones

Use your Initiative/Be a Ninja.

Once you’ve got through the prelims and finally land that internship, it’s time to be on your A-game and stay on that A-game. Bring a notebook so you can take note of instructions, feedback and stay on track. It also makes you look like an eager beaver who’s ready to work. It’s important not just to do what you’re told, but to go beyond that. Do things that your editor didnt even ask or expect you to do. Make everyone’s life as easy as possible by doing more than you have to. So if you’re asked to write an article for online, write the tags and social media posts for it too. If you’re asked to research an interviewee organise your research in an easy-to-read format and suggest interview questions - even if you weren’t asked to. You must always be one step ahead. It’s important to be quick but not to sacrifice quality. So edit, edit, edit. You better be the most helpful and competent ninja that office has ever seen.

Be Present.

Carrie started as an intern. Who wouldn’t want to be Carrie?

Don’t be scared to contribute to discussions. An intern is still a part of the team so offer your ideas and when asked - dont be a neutral party - give your opinion. Be sure to make the most of your time at a publication and get to know people. A good conversation starter is to ask them questions about themselves. Like how they came to work there or any advice they could give you. Dont be a silent voice in the background, you’ve got to be a helping hand and a smiling face. Remember, these are the people giving you references and everyone seems to know each other in fashion, so they could recommend you to someone or even offer you a job based on how lovely you were during your stay.

Be a Nice Human.

UAL produced McQueen and Phoebe Philo. Their word is golden. 

This is integral in any field. Be nice and respectful to any and everyone you meet. I can’t tell you how many people I’ve met and googled when I got home only to realise how major they were. These are the people you could be working with one day or the key to your next opportunity. You need to be remembered as a pleasant and competent person because in order to advance, it really can be about who you know. So greet and say hello to everyone. Even if you’re shy and really awkward, you have to do it! Try to get as many contacts as you can and keep in touch. Whether that be e-mailing them for advice once, thanking them for your experience or offering your time to help them (I recently did this and ended up working at Topshop’s flagship for a few days - score!) This includes fellow interns. A lot of people in the industry started as interns - look at where they are now? Who’s to say that intern on the Mac next you won’t go on to work at a PR firm that might just be hiring, or recommend you when a last minute stylist assistant is needed? Just leave a good impression on everyone you meet, k?

In summary, get off your bottom and seek experience whether that be online or in your local area, get creative with your e-mail, cover letter and CV, always be one step ahead of your editor’s needs and treat everyone with upmost respect. Fashion and the media aren’t as mean as TV and film make them out to be. People tend to be very helpful. The opportunity is there you just have to be willing to go for it!

Now you’re equipped, go get that internship!

Yours truly,


Like the advice? Check out my previous How To’s:

How To Be Organised: From the Least Organised Student in Existence.

How To Revise: A-Level Edition 

Error: Phil.exe

Title:  Error: Phil.exe

Genre: dark (or angst as it’s apparently called; I just don’t think it’s accurate though)

Summary: Computer viruses are a code that copies itself and destroys a computer system and its information. At the most, someone could loose their device. But the virus called Phil.exe wasn’t interested in corrupting a computer and then dying along with it. It was a sentient virus, and it had bigger plans that expanded beyond the computer world. All it needed was a host.

Word Count: 1500+ (this is just an introduction; I normally will aim for 3000-4000 words)

Additional Note: This comes from the virus!phan au which was designed by @maddox-rider! This is my own interpretation of it; it may not line up with other stories later but I will try and keep it close to what she has designed. Go check out her art!

Keep reading

So Sweet

Group: Seventeen
Member: hybrid!sub!Woozi(Jihoon) x Reader (more of an OC, I will add the OC description later bc there will be some height specific things and stuff like that)
Genre: smut 
Anon Said: Can i have a sub!woozi smut with overstimulation(?) I guess. Tysm 😏
Warnings: sexual content, over stimulation
Word Count: 4817
AN: Whole concept is like Jihoon is a kitty cat hybrid. I’nm sorry if this isn’t how hybrids work, I mostly based this off of hoe actual animals go through heat. So the whole deal w those fluffy ears and tail~ I’m probably going to do a whole outline of the apartment… I’ll link it later APARTMENT Please let me know if I should make a separate post about their rooms! Message our inbox!

Keep reading

Let Me Be Your Call Boy (4/14)

Let Me Be Your Call Boy (4/14) | After coming out as gay to his friends on his birthday, the last thing Dan is expecting is to be gifted a call boy as a present, let alone one that’s been paid for for the entire night. Allowing Phil to show him the ropes is his first mistake, paying him to come back every week is his second, and using him to convince his parents he really is gay is his third. As a successful lawyer, the money isn’t the problem - falling in love is. | Phan | Mature | Smut (blowjobs, fingering, rimming, edging, intercourse), Sex Addiction, Prostitution (and discussions of all the risks that come with it), Escort Business, Mentions of Eating Disorders, Near-Rape and Semi-Violence, but nothing explicit. Warnings at the beginnings of each chapter | 252,000 Words

Disclaimer: In no way do I claim that this is real or cast aspersions on Dan or Phil.

This Part: 22,815 Words

For reference, @embarrassing-myself is Dan, @insanityplaysfics is Phil.

(Previous) (Ao3) (Masterlist)

Warnings: discussion of voyeurism and public teasing for pleasure, coming out, homophobia, homophobic mother, “just a phase” and “down with the gays” kind of talk, anal sex

I only got out of bed because @alittledizzy messaged me to post, so go thank them and my obsession with their fics for updating before nooon <3

Chapter Four

Keep reading

[MAG/TRANS] Furuyanagi's Special Interview in Entame August Issue

Sweet, lovely, incredible couple! More about KII, more about Furuyanagi! (And just get married pls)


Now is the conversation that you want to hear from the best old married couple of SKE48

Furuyanagi’s Special Talk


Although there are many combinations that have good relationship in SKE48, they probably don’t have the stableness like this couple. 5 years since they met, Furuyanagi already reaches into the realm of old married couple that can communicate without exchanging words. Nagoya Dome, the SKE48 which has become a new organization through Daisokaku, how is this “unchanged couple” being viewed? The beginning of a comfortable talk, let’s start~!


Members burst into laughter at Airin Leader’s inauguration

― Speaking of the active service strongest couple of SKE48, even if we think of the popularity, ability and the good relationship, it’s “Furuyanagi” of Furukawa-san and Takayanagi-san! This time, I think we will have these two talked fully from their close friend manner to SKE48’s present and future. First of all, speaking of the best event which happened recently, it’s the daisokaku, there was the inheritance of Team KII’s Leader which Takayanagi-san remained for Furukawa-san.

Takayanagi「The moment Airi was called out as leader, I burst into laughter.」

Furukawa「Everyone laughed, didn’t they?」

― Although the sokaku this time was large-scale shuffle, there was extremely nervous feeling, only that part that you had pleasant feeling, right?

Takayanagi「Miyazawa (Sae)-san became Team S’s leader, Miepi (Sato Mieko)-san became vice leader. Although I thought that KII would surely change too, but I really didn’t imagined that Airi would become the leader by no means.」

Furukawa「When I was called out as leader, I thought absolutely that it was impossible.」

Takayanagi「When I said “Leader, ganbare” at end of sokaku, she said “Change it now” (laughs).」(T/N: It means that Airi didn’t want Churi to call her leader at that time lol)

― Since the team was united until now, did you do anything look like a leader?

Furukawa「Completely did (Bitter smile).」

Takayanagi「Even when thinking of the team, basically, because it’s the type “It will become good somehow” isn’t it? But I was like “What to do? What to do?” when I was in this position to watch over (laughs).」

― The position has been changed, this time Furukawa-san will become “What to do?”, right?

Takayanagi「No, I think it doesn’t change fundamentally. Even now, I still warn and advice to members. At first, I’m no longer a leader. Although I considered that whether it would be better to leave it to Airi, but it was impossible (laughs).」

― Then It was unbearable.

Takayanagi「If you notice, I have said it. Although I haven’t been able to imagine Airi’s leading figure yet. It’s being done little by little, isn’t it…….? I also looked at Miepi’s back at the beginning.」

― You’re becoming a leader gradually, right? As Furukawa Team KII.

Furukawa「I don’t like the way of calling depending on a name which is attached to the head of a team.」

Takayanagi「I don’t either. Such as Takayanagi Team KII. Because KII is KII for everyone, both those way of calling aren’t very nicely (laughs).」

Furukawa「To be honest, I don’t want to be called leader……. I don’t see the feeling of leader myself, so I let the fans call me “Admiral”.」

― Furukawa Admiral! Isn’t it “KanColle” (laughs)? But how about becoming a leader gradually?

Furukawa「Because I thought that position wasn’t suitable for me, spontaneously in a blog, I expressed “Churi is wonderful~” (laughs). It’s awesome to think exactly about the part where I said directly. After that the blog was wonderful. Such as the part that I was told that I was very hot, It’s impossible to be me.」

― How about challenging? “Churi lecture” have to be “Airin lecture”.

Furukawa「They’ll worry “What happened? Are you alright?” (laughs). I was told “Because it’s good for Airin to do it like Airin” by the fans.」


Old KII members play active roles in each team

― How about the new Team KII?

Takayanagi「There is a fresh feeling, right? There are Ego-chan (Ego Yuna), (Kitano) Ruka, (Hidaka) Yuzuki.」

Furukawa「It’s the feeling we’ve never had before, isn’t it? In the talk, the atmosphere is slightly different.」

Takayanagi「There are many members who used to be while doing the initial stage of “Ramune no Nomikata”. Such as (Ishida) Anna, (Abiru) Riho, they went to other teams and grew up, they’ve become elder sister and come back. Now, those members take the lead and take care of new members.」

― If it becomes so, what are you two’s role?

Takayanagi「We look (laughs). After that we pull “Let’s go”. Before, there were many members who were in the same generation, however it was the image which everyone was running side by side with all their strength, now, there are even from veterans to draft members.」

― The sokaku has changed it completely, hasn’t it?

Furukawa「I think it’s too early. The previous KII only performed stage in haft year. Because it was too fun and was in a very good state.」

Takayanagi「So it was very lonely. I’m not a leader anymore, it was painful at first. But I have been saved, KII’s members become other teams’ leaders and vice leaders, it’s very expected. It’s indispensable. So I also have to be positive to catch it.」

― Suda-san is Team E’s leader, Sato Mieko-san is Team S’s vice leader, Oba-san is KII’s vice leader. KII’s soul has been spread out.

Takayanagi「Come to think of the previous KII, we took photos in the sweated state at the end of stage, said “It finished”, then the photos were posted on blog. Now Takeuchi Mai goes to team S, Suda Akari goes to team E and they are doing like that and spreading out.」

Furukawa「But Riho is in KII now. She wasn’t in the previous KII (laughs).」

― When you form circle, who take the lead and utters voice?

Furukawa「It’s me. But I haven’t decided what to say yet, I’m using “Let’s work hard”.」

― It seems I’ve heard it somewhere

Takayanagi「It’s catchphrase of Kitano Ruka. Isn’t “Let’s work hard” easy to say? It has been decided to say just as it is (laughs).」

Furukawa「It’s easy to remember and easy to put in concentration (laughs). But there was a talk which I considered about a new perfect one.」

― By the way, Takayanagi-san, you’ve become a concurrent member in NMB48 Team BII, how does Osaka feel?

Furukawa「You like it, right?」

Takayanagi「I also like what I saw (laughs). But there was a launch after the first day of stage. Although I was intend to go back to Nagoya, everyone told me “Eh, no” “Why don’t Churi-san stay here?” , so I stayed. Later when I suspended stage, I got email “When will you appear?”. But when I came to their Request Hour they said “What? Why are you here?” There are also many tsundere girls.」(T/N: You’re also a tsundere, Churi)

― But in NMB48, are there any characters that maintain the stability?

Takayanagi「That’s so, isn’t it (laughs). Mirukii (Watanabe Miyuki) also told me “Churi-san’s aura is maintained so greatly”. But every girl in NMB48 is friendly. There might not be shy girl.」

― Is there any girl often entangle?

Takayanagi「Such as (Yabushita) Shu-chan, she has an evil tongue. When I wore lesson clothes which had skeleton pattern, she saw it and said “Strange”. “But this one can adapt itself in NMB48”. Later, when I did horn hairstyle, she said “What’s with this head?”, if I make it straight, she’ll say “Today, you are very cute”. She often become sweet, although she’s sassy, but she’s cute.」

When we stay together, what we buy at the supermarket is the same Furukawa Airi


Is Furuyanagi appreciated by the fans?

― Although it’s too late to everyone, but can you introduce each other?

Furukawa「Eh? What should we do……?」

Takayanagi「2D otaku…. I know the food which she doesn’t like. Airi hates perilla.」

Furukawa「For Churi, it’s bread.」

Takayanagi「Can it be understood as love?」

Furukawa「When we stay together, what we buy at the supermarket is mostly the same.」

Takayanagi「For raw food, it’s Camembert cheese, olive. Later is ginger ale (laughs).」

― You seem to be in the same room many times in hotel, what do you do in hotel?

Furukawa「We sit on the bed and do things what each other likes, right?」

Takayanagi「We watch TV together and laugh, I keep talking by myself. We mostly sit next to each other in shinkansen and bus, don’t we? However, when I want to sit by the window respectively, we’ll sit seperately.」

― It’s free, isn’t it?

Takayanagi「It’s free. But when there is an interesting thing, first I will “Listen to it”.  If the comedians who Airi likes appear  on TV, I will send mail to her “She/he appear”. Conversely, it truly isn’t an interesting talk at all.」

Furukawa「Although I reply most of the mails, but when I’m tiresome, I don’t do it.」

Takayanagi「Well, doesn’t it matter even without coming back? Since I’ve become a firm character tentatively, although I seem to take care of Airi, well, we take care of each other, right?」

― Was you relationship like that from the beginning?

Furukawa「I don’t remember since when our relationship became good. But from the start of 2nd gen, we were in older members group together.」

Takayanagi「Because I was a high school student and just was in around middle year, I associated with adult team and children team. But I might be closer more with the ones who had closer order of the name.」

― Have you quarreled?

Takayanagi「We haven’t, right?」

― Have you two never got angry with each other once in a while?

Furukawa「Hm. Is it when I couldn’t take bath easily? Even if she said “Come in” but I replied “I’m sleepy~ I’ll take bath on the morning~ . I’ll only wash face~”. In the end I fell asleep just as it was. After that, the bed was dirty (laughs).」

Takayanagi「Right, haven’t my privacy disclosed badly for quite a while (laughs)?」

Furukawa「When we arrive at the hotel, it seems that I won’t be satisfied unless I unfold luggage on bed all at once.」

Takayanagi「After taking out pajamas and clothes for the next day, I want to take out the hair dryer too.」

― If everything is unfolded on bed, can you sleep?

Takayanagi「When I sleep, I sleep deeply!」

― Although that intention keeps being called…….a very useless work, conversely,  isn’t it suitable to turn towards Furukawa-san from Takayanagi-san?

Takayanagi「I wonder what….. Ah~, that’s right. Although Airi did cosplay at handshake event. I was often asked “Aren’t Akane-chan going to do cosplay?”. When Airi does cosplay, It’s just I don’t know about it. Even if I was said so…..」

Furukawa「At handshake event, my fans come to Churi’s land, Churi’s fans come to my land.」

― There are also many people who are Furuyanagi oshi, right?

Furukawa「But we haven’t admitted as a couple so far.」

Takayanagi「The name is also austere, right? (laughs).」

Furukawa「We doubt ourselves that whether the fans are delighted about us.」

― But the swimsuit gravure is also reputation.

Takayanagi「We did it once, right?」

― Are you embarrassed to do swimsuit gravure together?

Furukawa「Although it’s alright because gravure is in the view of world, but on the contrary, shooting in a normal interview, it’s embarrassing when we are told to do things such as holding hands (laughs).」


I dislike taking bath together with people, but I’m alright to take bath with only ChuriFurukawa Airi

How about Furuyanagi in future? I think that it probably doesn’t change (laughs)Takayanagi Akane

We want them to fix their eyes on the place where we are standing

― Have you ever taken bath together?

Furukawa「We have. Although I dislike taking bath together with people, I’m alright to take bath with only Churi. However, firstly, when entering, every other member came in together, furthermore, it’s the situation that they have to come in (together).」

― Is there any situation like that?

Furukawa「It happened a long time ago, we were on the way of moving from Tokyo to Nagoya, we dropped in a place which looked like a public bath. It was a reluctant situation because I couldn’t take bath together with everyone.」

Takayanagi「However, because I know that Airi hates taking bath with people, so we looked for a place that there wasn’t any members as much as possible. After that, although we went to the public bath for two of us several times, but 30 minutes before the public bath was closed, such as first thing in the morning, we went in the time when there wasn’t any members.」

Furukawa「I want to come in as quietly as possible. They always play with together while taking bath, I hate screeching.」

― Doesn’t Takayanagi-san screech?

Takayanagi「Because I rather want to come in quietly too. Even if I screech, I will do it alone. Before I enter into the bathtub to wash, I’ll say with these words such as “Have Airi finished yet?” (laughs).」

― The old married couple also has the sense of stability of how to take bath, right? Come to think of it, I also want to ask you the story at the time of the birthday……

Takayanagi「What birthday?」

― It’s the birthday which Takayanagi-san celebrated for Furukawa-san in a midnight bus.

Furukawa「Ah~, it. It’s the time when we were recording for MV. When we were recording MV for AKB48’s 『KONJO』(Coupling song of『Mae shika mukanee』). She celebrated birthday for me when we were on the way of returning in the bus. Although everyone got tired and was sleeping, Churi sat next to me and when the time passed 0h, she said “Happy birthday” to me in a low voice.」

Takayanagi「You said it before getting on the bus, didn’t you? “Am I going to celebrate my birthday in a bus…?” Therefore, although I couldn’t have anything to present at that time, at least I said “Happy birthday”. I said in a low voice because everyone was sleeping around.」

― It’s a good story that I want to tell to the couples who are in stage of ennui in this world. Although I want to hear you two’s episodes as they are, because the time is going to end soon, last is story of the whole SKE48. What do you want to do with SKE48 in the future?

Furukawa「I want to perform a lot of stages.」

  What other sister groups are also doing, right?

Takayanagi「That’s right. We also have to do our best. And then, I want to increase more activities in Nagoya and be the existence that is loved by the local more. We want them to fix their eyes firmly on our feet which are standing.」

Furukawa「A quote! (clapping)」

Takayanagi「It’s~ not~ that~~ (blushing). But we went to consult about that thing together, didn’t we?」

― To the staff? Furuyanagi, to tell the truth, haven’t you ever had a serious and heated talk? (laughs).

Takayanagi「I mean, the talk is only like that when we talk with staff-san…」

Furukawa「We don’t do it when there are only two of us. We don’t do it even if hidden camera is put!」

― Well, so you’ve ever done serious talk, I feel relieved. So what will happen to this Furuyanagi in the future?

Furukawa「Isn’t it just as it is?」

Takayanagi「Because it doesn’t change even when we’re at work or in our private life, I think that it probably doesn’t change. However I said, when we get married, let’s invite each other to our ceremony.」

― Are your partners introduced in advance?

Takayanagi「I think we won’t. But to the younger members, we said “Introduce him to us in the future”. So as not to get caught with a weird man.」

― As expected of an old married couple! (T/N: Just like parents to their daughters *cough*…)

anonymous asked:

This might be slightly stupid thing to ask, but how do you get interested in reading again? I used to read so many books when I was younger but now after school/work, I'm so tired that I'd rather watch TV than read.

Hey lovely, this isn’t stupid at all, I think its happening to most readers today and I definitely find this problem! I have a lot of thoughts on why this is, but long story short it’s because of a) book elitism and b) instant gratification due to the development of television, internet etc and its harder to both make the commitment and maintain interest in books (I even find it hard to finish a two hour long movie most nights). But, as our attention spans are becoming shorter its even more important to keep reading, and last year I finally decided to get out of my reading rut and committed to reading 52 books throughout the year (which isn’t that much to some people, but was more than I had read over the previous few years). Some things that helped me:

  1. Good Reads
    I don’t understand how anyone who reads doesn’t use Good Reads already, but it is amazing for organising your reading. You search for books you want to read, have read or are currently reading and “shelve” them accordingly so you can find them better. I use this to look at reviews, see what my GR’s friends have been reading/recommending, and search different genres or categories to find things I may be interested in.  

  2. Set A Goal
    Though you can do this by yourself and keep a number in mind, I’d recommend using Good Reads’ Reading Challenge as it shows how many books behind/in front you are and the percentage you have finished for the year (displayed on a progress bar). At the end, it will also give you an overview of your year of reading, showing how many pages you read, the longest and shortest books, your average rating, your favourites and other cool things. Actually visualising your progress can really, really help and keep you motivated to stay on top of your goal (it got me to read around 15 books in december to finish my 52). For some people this may only make reading stressful which is NOT good (so if thats the case don’t do it), but if you like planning definitely set your goal now!

  3. Social Media
    Blogging about literature that I loved or wanted to read on Tumblr also really helped motivate me, especially when people started asking me about books. If you want more readers to follow/talk to you, try making edits or posts for your fandoms and initiate conversations. Also make sure you follow people who blog about literature so it comes on your dash more frequently and keeps you interested! If instagram or youtube fits you better, try looking at people who discuss books on there too.

  4. Environment and Different Mediums
    If you get distracted when reading, try to create a space or situation strictly for books. This could be a room in your house, lying on the end of your bed, sitting in a beanbag with a cup of tea — just something you recognise as a place for reading. Make sure you keep your laptop and phone away so you don’t get distracted! You can also try downloading books onto your phone or computer so when you’re away from home and need entertainment you might pick it up and get invested (this has helped me start reading several times after becoming bored at the hairdressers or on the bus, even though I prefer physical books).

  5. Re-Read Your Favourite Books
    This is the absolute most important thing when getting back into reading. Never feel pressured to read classics, memoirs or best sellers if they simply don’t interest you! The best thing you can do is pick up one of your favourite books so you know you will finish it quickly, because it will make you want to keep turning pages. It’s even better if there is a series you love, as that gets you back in the habit of picking up another book straight away (reading Harry Potter always helps me). Similarly, don’t be afraid to put a book down if you don’t enjoy it - there is no shame in moving on if it’s just going to make you dislike reading again and lose interest.  Never feel ashamed of reading something others don’t like or approve of, if you don’t enjoying reading then there is no point at all.

  6. Bonus; do whatever else motivates you
    It doesn’t matter if what you enjoy/get motivated by is what other people call superficial or whatever else. If a pretty book cover makes you want to pick it up then buy books with pretty covers! If taking pictures for #bookstagram helps to motivate you than do it!!! Just rediscover the excitement of reading again, the feeling of staying up all night to finish a good book, rushing to the local store because you can’t wait for a new instalment. Reading should always be enjoyable, so make sure you are reading for you and not just because you feel like you should. 

baloneyinterrogator  asked:

DJWifi (because there is a lack of this pairing), butterflies (the nervous kind, not akuma), level 2 Hope this is okay! Sorry if the prompt isn't that great, I had a hard time picking something.

Whoops! So, here goes my over-enthusiasticness in full gear XO The second I got this prompt, I immediately wrote up a quick breakdown of how I wanted it to go only to have that “quick breakdown” turn into something that is gonna be roughly 5,000 words once finished, so here’s Part 1. I’ll try and get Part 2(final part) posted tomorrow. Let me know what you think. Sorry, this part is pretty Adrienette heavy.

EDIT: Including link to Part 2.

“Alright, dude, I’m totally gonna do it.” Nino whispered, leaning closer to his best friend and deskmate.

“You got this, man!” Adrien quietly said back, pumping his fist to show his encouragement. Nino nodded and smiled in acknowledgement as the two boys bumped fists behind their raised books.

Suddenly, the bell rang, signaling the end of class, and just like that all of Nino’s previous courage was wiped away, replaced with what he could only describe as a serious case of the butterflies. His stomach felt like it was doing parkour tricks off his ribcage, his heart racing like he had just been running a marathon, his palms beginning to sweat profusely. This was a stupid idea, who thought of this stupid idea, this was never going to work.

“Dude? Helloooo?” Adrien waved a hand in front of Nino’s face, noticing the complete 180 in his friends demeanor. As he waited for his friend to return to this planet, Adrien saw the objective of the boys earlier ramblings already on her way out the door. “Nino, look! Alya’s leaving! It’s now or never!”

Snapping back to reality, Nino saw exactly that. The girl he’d been secretly pining for, the object of all his day dreams, walking out of their last class of the day, completely engrossed in a conversation with her best friend by her side. Quickly, he jumped out of his seat, jogging the few steps between his desk and the front door to the classroom and hoping, praying, that he had enough nerve to open his mouth when he got there.

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anonymous asked:

am i the only one who doesnt like heather that much? she just seemed like a badly written mary sue OC (so good at everything and everyone loves her but shes too filled with angst to not be alone)

There are a number of other bloggers who do not like Heather and have much the same criticism as you do. While I love constructive criticism and think there is something valid there to be said of Heather’s characterization, I also have been sad to see outright trashing and heaps of negativity regarding the character instead. Not everyone has to enjoy the same individuals, and I do think it is good discourse to be able to identify strengths and weaknesses in writing, but I also hope if you understand I want to avoid a culture of negativity myself.

Here I will provide my own perspective on Heather’s cliché elements, why I love Heather (I’m actually working on a cosplay for her!!!), and where I think her character is valuable to the franchise. Feel free to agree or disagree with me. :) I know there are people with a lot of different perspectives on Heather, and that’s okay!

Some previous posts appreciating/defending Heather

Tropes in Heather’s character

So a Mary Sue, at least by some definitions, is an idealized character who tends to be competent in too many areas and charges in to save the day in unrealistic ways, and is often believed to be an idealized version of the author, etc. I do not believe Heather fulfills as a Mary Sue because she has a number of weaknesses, she does not act in too many roles of heroicism, she is no more powerful or talented than the other dragon riders, she struggles to be accepted rather than be admired by everyone, and while her characterization does have angst, it also contains more nuanced development and growth.

Still, there are some tropish aspects to Heather that many people have noticed, and which people have been critical of:

  • Tragic backstory. Heather has an enormously tragic backstory between losing her biological parents and her foster parents and having a bloodthirsty brother who has attacked and harmed more people than we want to know. This leads to a lot of loneliness and angst, which is something that can become quickly overdone in story and rather frustrating to viewers.

  • Dramatic family history. There is more than a bit of cliché in Heather’s familial story. Losing her biological family is something we’ve heard oh-so-many times before in media. On top of that, she is related to the reprehensible villain and is royalty… and she learns this in a dramatic reveal. Usually when I see family drama in a story, I wish it could be replaced with something else fresher.

  • Kick-butt action female. It is very common in media to have a very competent warrior female character in the story. While some of these characters are three-dimensional and very interesting, sometimes the kick-butt action female can also be a simple, flat, tropish “token” in a story or film. When done poorly, it makes me extremely frustrated because they just wasted the opportunity for a great female character! I do not think that Heather falls into the two-dimensional mindset for a variety of reasons, so I love seeing her kick butt, but I figured I would bring this up since it is technically a trope element.

  • Increasing focus to her character though she is not in the movies. Maybe not quite a cliché, but still a common criticism. To many individuals, they desire to see the original six dragon riders and not someone new who has not appeared in the movie trilogy. To diverge too much away from the core characters from the movies might feel irreverent to many people.

    I will say, in defense of Heather… while I totally understand peoples’ frustrations here, I also think this is… unfair… thing to speak too rudely about. There is nothing inherently wrong with introducing more characters to canon and exploring their personalities. Character additions can be really cool! HTTYD 2 added Eret. It also, um, added Valka, who turns out to be extremely important and interesting to the storyline. She was a major focus despite the fact she didn’t appear in a single frame in the first movie. The movie writers can add new characters and explore them in depth. The television series writers can, too. Please quit calling Heather an OC, friends. That’s not very respectful to the people who are working straight out of DreamWorks producing RTTE. Take or leave episodes in your own personal considerations to canon, sure, no problem, but please don’t treat a character (from a television series many fans love!) as second-class trash. She is a part of the official DreamWorks franchise, and there’s nothing inherently wrong about the writers choosing to include her and incorporate her into RTTE. Also, food for thought: Alvin the Treacherous has had just as much of screentime as Heather… but I didn’t see the same sort of outlash against him getting lots of screentime, probably because he is an antagonist rather than another added “good guy” to the team.

    I also don’t believe that Heather has completely taken over the show. There is a lot of plot development regarding her, yes, but there are so many deep character interactions with Ruffnut, Tuffnut, Snotlout, Fishlegs, Astrid, and Hiccup. We get a lot of new Hiccup moments. We get a lot of new Tuffnut moments. I know some individuals may disagree with me, and that’s okay, but I don’t feel like the television series is just about Heather.

Heather admittedly does have a number of clichés going for her. I know lots of people don’t like that, and that many people consequently consider her a Mary Sue. I don’t believe she is because she has a lot more elements above and beyond these characteristics that I find interesting and three dimensional.

The presence of clichés also is not always a bad thing. If the character is only cliché, then they tend to be poorly written. Still, there are some very good characters that have a lot of clichés to them. There are a lot of bad characters that don’t have clichés to them. I do think Heather leans a little too much on cliché, but because I don’t think it’s her entirety, I’m happy to embrace her, faults in writing and all. Even with something like her family drama, it’s something to consider that oft-liked characters like Luke Skywalker… have basically the same amount of family drama as Heather.

If we want to play the cliché game, we might also want to consider how some of the other characters in HTTYD stand up to cliché. Astrid is someone we could talk about in depth. So is Hiccup. As much as I love Hiccup, he has a hoard of clichés following him. A hooooaaaaaaard. Hiccup grows up without a mother. He feel ostracized by everyone in his tribe because he’s the “different” awkward one. He has a lot of amazing talents that no one can recognize. He falls in love and “gets the girl” at the end of the movie (I’m sorry, I don’t like saying it, but it’s true and it’s what was intended with the production of the first HTTYD). He goes through that whole overused literary lie trope where he hides the truth from all the people around him until he gets exposed in a dramatic moment (the Kill Ring). The amount of talents he acquires over his personal development borders on a lot, everything from blacksmithing to inventing insanely beyond-the-time contraptions to drawing to dragon riding to defending himself to leading to general intelligent thinking. He saves the day and comes up with the solution to their problems a disproportionate number of times. There are even more clichés I could bring up by going into the books, but the point of the matter is… Hiccup is a very good, lovable, and three-dimensional character… who also has, within him, a lot of familiar tropes.

So we can criticize elements of Heather’s character and I don’t think she’s perfect in some of these regards. There are a number of valid literary criticisms to make. At the same time, I also think there are reasons to appreciate her and look beyond the less ideal aspects of her personality.

Reasons to appreciate Heather’s character

I believe there are a lot of interesting aspects to Heather’s character that make her more than a typical Mary Sue. Here are some things I appreciate:

  • Heather is a talented fighter, but she’s balanced. Heather is no stronger or weaker than any of the other dragon riders she encounters. There are times that she and Astrid together kick dragon hunter butt, with both women being equally showy and talented in their moves. There are also times when Heather gets in trouble during a skirmish and needs to be rescued. While she can hold her own, she has also been captured by both Viggo and Dagur over the course of the series… she is no perfect, idealized warrior.

  • Heather’s abilities make sense given her background. There is a reason she can train Windshear - Hiccup helped her learn in the past. There is a reason she has learned how to fight - it’s the only way she has survived on her own for the last few years. Heather’s talents did not appear out of nowhere.

  • Heather is an emotionally troubled character, which can be very relatable to certain viewers. To depict someone who is struggling with the harsh events can be a nice connection points for people who feel isolated and alone like Heather does.

  • Heather has interesting character development and growth. She starts RTTE as a bit of a gray character who is willing to do some rather questionable, violent actions to take vengeance on Dagur. Her loneliness is absolute, she struggles to fit in with the dragon riders, and she has obvious problems socializing. She makes some elementary mistakes with her friendship with Astrid and, multiple times, acts covertly apart from the gang after she has promised to be open with them. Over time, though, Heather becomes more trustworthy. Though her emotions are something she is still struggling with, her times with the dragon riders are giving her greater emotional stability, better social interactions, and moral growth. There is angst in Heather’s story, but it’s built up, expanded upon, developed, and metamorphosed throughout the show. It builds her character and makes her three-dimensional and complex.

  • Heather has weaknesses as well as strengths. She struggles with loneliness and trust. She makes a lot of mistakes, especially when she tries to do something on her own. Her judgments are sometimes completely off. She undergoes real emotions like anger, sadness, and an unwillingness to give compassion to someone who made mistakes in the past.

  • They do add some interesting elements to her family drama. There are times when Heather is right about her judgments of Dagur, but also many cases where she goes too far or makes an incorrect judgment. The fact she also worries about how much her Berserker genetics influence how she acts - aka, whether or not she has the same unpredictable, violent temperament - is an interesting question to ask.

  • I’ve said it before and I’ll say it again, Heather and Astrid’s relationship is wonderful. Heather and Astrid bring out each other’s strengths and personality. We see a female relationship which connects on everything from boy talk to axe throwing competitions. Unfortunately Astrid is often not written with much focus in the television series, but when Heather is around, both of the women, both of them, come much more into the forefront with some cool dialogue and action moments.

  • Heather is not used as a major romantic plot device in Race to the Edge! While there is Heatlegs present in the television series, obviously, it’s not the main focus of Heather’s presence in the show. Frankly, Heather’s friendship with Astrid and Heather’s familial relationship with Dagur gets a lot more attention. It’s always refreshing to have female characters in media whose life and breath is not centered on romance.

I know you don’t care for Heather, and that’s okay. I know there are a number of other individuals who don’t like Heather, and that’s okay. I know there are good constructive criticisms about Heather’s characterization, and those are good things to point out. I know I might have a bit of an unpopular opinion in some regards. But I’m okay with that. We are definitely free to have our own perspectives on different characters so long as we are not rude to others about our opinions and don’t act completely unappreciative of the hard work that’s gone into DreamWorks Dragons. :) So I am very chill with people not being a fan of Heather. At the same time, I am very happy to be a Heather-positive blog and am always happy to talk excitedly about her! I will not enter negative dialogue about Heather’s character, but will spread out some love and positivity to the character for those who enjoy her with me!

Have a wonderful day, friend, and take care!

Fic: Begin Again

Summary: When a Star Force follow-up film is greenlit seven years after the series finale, Belle persuades Rum to take part, and the cast is reunited once more. A Friendships and Fandoms fic for Rumbelle Revolution.

Rated: T

Read Friendships and Fandoms here.


Ok, so I got a lot of different prompts for my F&F future fic, but most people thought that a cast reunion for Star Force was in order, so I hope you all like the idea I came up with to mingle all the prompts together!

I’ll be posting some F&F smut separately, as I know how much we all love our smut in this fandom.


Begin Again

Belle knew better than to listen in on anyone’s private conversations, least of all her husband’s, but she was beginning to wonder if something out of a horror movie had happened and he was being held hostage via the phone. He’d left the living room to take a call almost two hours ago, and she was starting to worry that she might never see him again. The old movie they’d been watching on the TV had long since finished, and Belle had an early start the next morning and would have to go to bed soon.

She switched off the television and crept out of the room, tiptoeing gently down the hallway to her study. They shared the room, but Belle used it for her designing work when she wasn’t on set so it had basically become hers. She pressed an ear to the wood, but she couldn’t hear any sounds. Brow furrowing, she tapped on the door.

“Come in.”

Poking her head around, she found that Rum was neither being held hostage nor, in fact, on the phone at all. He was sitting in the spinning chair, rolling it slowly from side to side, his elbows planted firmly on the cushioned arms and his chin resting on his fists, which were curled around his phone.

“Are you all right?” Belle asked, inserting herself into the room fully and coming over to him, perching on the desk next to her paints.

Rum nodded, but he was frowning, and Belle raised an eyebrow. He certainly didn’t seem to be all right.

“Are you sure?” she pressed. Rum nodded, so she decided not to push the point. “Who was on the phone?”

“It was Jafar,” Rum said.

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