this scene is so long i have to post by parts

Rick’s “Fake” Origin Story?

So this could all just be bullshit but I think I have a somewhat plausible theory on what parts of Rick’s origin is true, who Diane Sanchez really is, and a solid idea to explain both Beth’s and Summer’s hair colors. Under the cut to save your dash because this is going to be detailed and long. So here we go. 

Keep reading

WKM - What happened?

I’m going to cover all of this mess in this post. It’s just what I think could be the truly amazing story behind this amazing video series. 

There are LOTS of questions in my own head and I’m gonna try answering (hopefully) most of them! Here we go!

WHO KILLED HIM NOW?

The biggest question raised is, obviously, who killed Markiplier? From what we could gather throughout the series, demons are likely to exist in this scenario.

Even the newspaper gives a hint that the mayor might have been a “demon in disguise”. So there are spiritual, supernatural things happening here. I, for one, can not answer the biggest question out of all, how he died and who he was killed by. I can only make one assumption; here’s my theory.

We know that Mark’s body went missing at some point. Where exactly is never shown or hinted at, but I have a likely theory that Mark himself was the one to hide his own body in form of his spirit. Or just, behind all that was happening in general. However, what we do know is that Mark, I quote (Damien): “(He) trapped us here in this broken shell and we had no way out.” 

It seems established that, during the time we were outside to talk to the gardener, Damien and Celine tried to reach out to Mark(’s ghost), hence she wanted to “talk to the dead”. During that time, Mark took the chance to inhabit Damien’s body and trap him inside his own, dead shell that could not be used anymore. Whilst doing so he either accidentally killed Celine by possessing her first, her not being able to hold the soul inside her body, OR Celine did not die and let Damien inside her body to save him from being thrown into the corpse, which would explain why she was red and blue in the end sequence of Chapter 3. She also appears to be having two pairs of eyes above her head at one point. Possibly a hint that she’s two in one at that point?

Either way, we know that Damien represents BLUE and Celine represents RED thanks to the ending of Chapter 4:

Which is why it could very well be that She kept Damien’s soul inside her body for a short while to save his life. And of course Damien was PISSED after that, betrayed by whom he cared for, who he fought Will for and whom he thought was a good, a childhood friend he could trust. That’s for the angry step towards us, the angry stare. He looks at us, knowingly. He chooses his victim that very moment.

We are told to run. The door closes and Celine does not come out. Her shell possibly broke and both souls were set free without a shell, or she kept it up and waited for the right moment to talk to us. 

The right moment being the time Will shot us.

And here is the thing; We did NOT die. If you listen closely, you can hear a faint heartbeat in the background during this very scene. They both tell you to believe them, tell you stories to make you feel sorry for them. Which, of course, you do. Damien seems pissed and loses his temper once more, like he did with the Colonel before, and shouts angrily that Mark walks around in his body. Which is why I think that part is true. He couldn’t take his anger in. He can’t, he has a low temper, that’s just it.

But Celine reminds him that he “can’t do this right now”. Reminds us to believe them. What you’re told is that Mark trapped both of them inside his old, dead body and that they brought you there so you have a chance to survive. Damien tells you that you can’t survive on your own and Celine says she can bring you back the same way she brought you there. But what Damien says afterwards is the most important clue.

He says: “But you can’t survive on your own. You’re .. dead, after all. (…) I know this all sounds crazy. Honestly, I don’t know what the fuck is going on. But I know that I trust Celine. And if you trust us … let me in. We can fix this.”

Gathered: Damien lies to you after all this time of actually being genuine. He was betrayed by Mark, knows that you trust him, wants revenge and is angry. He lures you into a false sense of security, tells you you can fix this together. He makes you feel like a friend by telling you that he feels the same way about all of this. And then, he mentions that oh so beloved trust of his. That one thing he completely lost thanks to Mark. 

Also important to note; It is ONLY DAMIEN that inhabits your body after all of this. Why is that?
Celine states that she can send “you” back, not “us”. She says “you” have a choice. And Damien ends his sentence with “let me in.” Not let us in.

You trust Damien and he tells you that it will work, he promises.

And it does work! You wake up in your own body, get up, meet the Colonel who is completely out of it by now.

He does not recognize us as a “Dark” or “Damien” because we don’t look like Damien yet and Dark doesn’t exist yet either. Damien, at this point, is inside our body and trying to take over. 

We listen to what Will says and see him, in desperation and utter confusion, try to find his dear friends he lost.

Once he’s away, only THEN do we walk over to the mirror. And here is where it gets interesting.

We take Damien’s cane: Take a look at the hands.

A thin, female and young looking hand (possibly Amy wee i love her), but then something happens.

The hand changes, transforms into a different one. Into a hand similar to Damien’s. Because Damien is inhabiting your body by himself. Celine is likely still in Mark’s body or, as I mentioned earlier, never died to begin with. It’s Damien who was so fed up, he had to use you to get what he wants. And he gets it alright:

A body. A shell to use as a puppet. He transformed your body into a copy of his own. Mark likely still uses actual Damien’s body, but Damien had to make you look like him to finish this with you. 

Then this happens.

And sad music plays in the background all throughout this scene and it broke my heart - but why did it break my heart? Because that right there is a representation of broken trust, my friends. Damien threw us out of the body he stole from us and trapped us either behind our screens or in that mirror (hence the weird noise light inside the crack). He used us. He manipulated us. We were his first victim.

And he feels bad about it at first. Note how Dark’s look changes after he throws us out? Because now we can see what he truly is; a broken man. He had so much trust in Mark, in us. He was a genuine, good and kind hearted man. He neglected his other friends for Mark only to then find himself betrayed by Mark or whatever he had unleashed that day. He is troubled, his emotions are a whirlwind and all the while he has to keep his anger inside. After all, Damien has a short and low temper. Guilty about what happened, he looks up at you.

Reminds himself that he has a goal now; take revenge. Looks at you now with almost disgust to make you feel even worse. This is a reflection of his own emotions that very moment. We are supposed to feel exactly what Damien felt. Betrayal, fear, loneliness. An end. The mirror itself is a genius metaphor for this.

He then leaves us. Clearly guided by rage and hatred and you can FEEL that, I get goosebumps just thinking about this. (@markiplier frickin amazing acting, dude!) Anyway, here he makes up his mind to take back control over what is rightfully his. Mark; his own body.

We are then left in darkness, questioning and clueless, sad and quite literally broken. 

Dark’s origin, ladies and gentlemen.

(just my take on this. It’s probably, like, super wrong lmao also sorry for the long post ilyall)

*pounds fist on table* ok i need to talk about the god-tier klance moments in s3e03 “the hunted” because damn there’s a couple scenes that are so powerful and important and i just….holy shit. buckle up, y’all.

this episode is fucking great for a lot of reasons, but one of my favorite parts of it is how much it shows the development of keith & lance’s relationship: especially 1) how good lance has become at grounding keith & helping him control his reckless impulses, and 2) how keith feels like he can be open and honest with lance about his fears/insecurities––which is a big fucking deal because we’ve almost never seen him do this. 

the first scene that really struck me is this part where keith is leading the team after lotor and it’s just….a big mess. he’s not thinking about keeping the team together. allura’s falling behind and he’s not paying any attention. he’s not considering that this might be a trap. all he can think about is diving in headfirst without considering the consequences.

and then this happens:

uhhhh….oh my god??

look, we know how keith gets. we know how hot-headed and stubborn he can be. i mean listen, we’re talking about this kid who literally tried to fight zarkon by himself.

and yet…..even in the middle of this intense chase, lance gets through to him. he brings keith down from that battle-rage and makes him see reason. and he does it in a way that’s straightforward and brutally honest (“you’re endangering the team and you can’t do this”) which i think is exactly why it works. that’s the kind of direction keith needs, and tbh out of everyone on the team it makes the most sense that it comes from lance.

i’m just

me: hey can i get a fucking uhhhhh lance being keith’s impulse control
dreamworks: *gives me this*
me: *kicking down the door* HOLY FUCK MOM

and look i was already sobbing over this one small part but then we get THIS….THIS SCENE….

oh boy oh wow where do i stART?!

god damn this scene is beautiful––visually, thematically, it’s just …. so powerful and significant.

first of all i need to freak out a little over the way the scene is set up and how wonderful the symbolism is. 

it starts with keith literally in the shadows, and then slowly emerging and drifting up towards lance with their lions facing each other. lance & red are above keith & black which is really interesting.

as we all know, keith is the leader right now. and yet, both literally and figuratively, he’s not positioning himself higher than lance––in fact, he’s doing the very opposite. and his lion doesn’t have her head lowered in shame either; the lions are directly looking each other in the eyes (which i feel like is pretty damn rare??) and that’s very meaningful. everything about the visual setup of the scene just screams openness, honesty, vulnerability. 

(side note: also wow @ that red and blue background, amiright)

and then we have everything that keith says. and boy….there’s so much to unpack here:

- he admits it was his fault and he led everyone into a trap
- he also admits that everyone warned him (lance warned him) and he wasn’t listening
- and because of that he put everyone else in danger

and man i gotta give huge props to steven yeun here because his voice acting in this scene….jeez it broke my heart. keith says all this so quietly, his voice is literally shaking. shit, he sounds close to tears. this is possibly the closest we’ve ever seen keith to totally breaking down and it’s just…..it hurts so much and it’s so important.

it really hits you in this moment that keith is a kid. he’s a teenager!! he didn’t want to lead the team & he doesn’t know how to do it. he can’t do it by himself. he doesn’t say any of that explicitly here but it’s 100% clear that that’s exactly what he’s saying.

and he says this to lance of all people. lance, his supposed “rival”! you would think lance would be the last person he’d want to turn to for reassurance or to blatantly admit “wow i fucked up real bad.” and yet….here we are. it’s moments like these that really prove that under the surface, these two don’t hate each other in the least. they like each other. they respect each other. they rely on each other!! (*whispers* space ranger partners….) 

and lance’s response only proves my point even more. he could easily have said “i told you so” or otherwise berated keith for his mistake. but he doesn’t! his answer is:

- yes, you messed up.
- but we’re going to fix it. we. i can’t stress that enough! he doesn’t say “you messed up and now you have to do something about it.” he doesn’t say “you messed up and now i’m going to take over and do something about it.” he’s essentially saying “yeah you made a mistake but that’s in the past….and now we’re going to take care of it together.” 

and that’s?? so great?? because keith more or less admitted that he was feeling this huge burden weigh down on him, and lance––in his own subtle way––lifted that weight off keith’s shoulders. he’s reassuring keith that he’s not alone in this. *wipes tears from my eyes*

and if all that wasn’t enough, keith immediately saying “you’re right” makes it all the more significant. he’s openly admitting once again that he fucked up, but he’s also agreeing with lance’s statement that they can still turn things around and fix his mistake as a team. which is…..wow. 

tl;dr - everything about this pair of scenes just proves how keith & lance work so well together and need each other. it shows how important it is for them to be open and honest with each other, and demonstrates how they both have that capability. 

and i’m gonna scream about it for a hundred years. 

I’d like to take a moment to talk about Bill Skarsgård’s performance as Pennywise, and particularly the drain scene, as it’s the only one I can repeatedly watch a portion of in good quality to analyze his physicality in the role.

Because so much of his performance is made by his movements, even in the aforementioned scene where he’s just a talking head:

Cover up the eye on your right, and Pennywise is looking up out of the storm drain at Georgie.  Cover the eye on your left, and where’s it looking?  Right at you.

Pennywise’s eyes move independently like this throughout the movie, and it’s not a CGI effect. Skarsgård has a lazy eye and while he can focus it, he’s also able to relax the muscle and put it back out of alignment.  And while having strabismus obviously isn’t a choice on Skarsgård’s part, he uses it brilliantly in this movie when he could have just not utilized it at all.  You’d think having a wandering eye would make him seem less threatening (usually when you see lazy eyes on film, they’re on comedic actors such as Marty Feldman or Steve Buscemi).  But he positions himself with the camera so perfectly, making his character seem like a threat who can see through the protection of the fourth wall.  Even if you don’t consciously notice that it’s looking at you, it’s these little details Skarsgård adds that make Pennywise seem just wrong.

(His contorted bottom lip is another of these traits.  That’s not a prosthetic like his cheeks are, it’s just something he does). 

Because that’s the thing about Pennywise: It’s not an evil clown.  It’s not human.  It is alien and unfathomable and everything Skarsgård does with his performance reminds you of that.  Tim Curry’s Pennywise (whom I love and this is not a knock on his take) was an evil clown who was also an otherworldly abomination. Skarsgård’s Pennywise is an extraterrestrial horror who is wearing a clown’s skin, and it doesn’t quite fit.

Just look at the sewer scene: You’re seeing an animal that just came out of hibernation and is so hungry for a meal that it can barely keep itself from revealing the ruse to its prey.  It wants Georgie to trust it, like it, and approach it, and its voice is gentle (for it), and it’s funny and inviting.  But it’s also drooling all over as if it doesn’t understand or doesn’t care how a human mouth works, and it doesn’t know or care how people focus their eyes either.  It’s struggling to hold itself together and it’s very close to breaking: it growls at Georgie in the middle of the scene, and surely it’s learned in the last few centuries that humans don’t growl mid-conversation?

You could argue that it’s not failing to act human, it just needs Georgie to be scared to eat him.  Fair enough, but Pennywise doesn’t reveal its true self until it’s already holding onto its meal in the book.  And in the movie, it’s clearly anxious when it thinks it might have scared its prey away:

(The nerves don’t come out as well in the photo, but if you watch the shortened clip here, around 43 seconds in, it swallows hard and is obviously worried Georgie might leave: https://www.youtube.com/watch?v=1jwlbgSHZgk)

It’s unnerving.  It makes you shudder even when it makes you laugh.  And Skarsgård puts that much uneasiness into a scene showing just his head, shoulders, and occasionally his hand.  In the scenes utilizing his whole body, it gets even more eerie.

It’s a fantastic performance.  And even more so because some of these things were not entirely under  Skarsgård’s control: He couldn’t choose to have strabismus and the drooling was caused by his prosthetic teeth.  But rather than trying to hide anything, he embraced it, and managed to make things as human as saliva and wandering eyes seem utterly monstrous.

I really hope the sequel gives Pennywise more dialogue and still scenes, because it’s a thousand times more disturbing there than it is when it’s darting at the camera.

Door Symbolism/Reading The Room: A Look at Klance

After finishing season 3 I, like I’m sure most people, walked away with a lot of new ideas, theories, and takeaways from the show. However, one such thing I didn’t even consider except upon review of the “leave the math to Pidge” scene while working on making gifs is how often the use of doors are in symbolism for Lance and Keith’s relationship. It’s such a prevalent matter that I couldn’t help but make a post to share with y’all some interesting metaphors and character analysis between Lance and Keith’s relationship (romantic or not)

Introduction:

Often when looking at well directed cinematography, the use of the setting/background information to portray character emotions is quite common. This can be scene in instances such as warm colors giving “romantic lighting” and dark colors/rainy weather representing “fear/sadness” in most movies/shows

Voltron does this really well in many scenes, hell just look at the first episodes and take in the emotions you feel when looking at the environment and how the characters probably feel:

In other words, shot compositions is really important in Voltron

Now. Let’s take a look at what shot composition shows us in the dynamics of Lance and Keith’s relationship

This is going to be a long post, so the analysis will be below the cut:

Keep reading

I can’t wait for Season 6 Episode 6

Let’s do a recap here

Season 1 Episode 6 starts like this

and immediately cuts to the team with Keith making the saddest face

and he gets so impatient about Lance being in the the pod that he starts tapping the glass and annoying everyone else asking when Lance is gonna be okay

and then has this disappointed and worried look when he realises he has to keep waiting

and then Lance gets out of the pod and we get these faces

just look at that soft happy surprised keith

and then Lance flirts with Allura and happy Keith turns into grumpy jealous Keith

and in the next scene Lance is eating and Keith is literally sitting on the table watching him

and gets annoyed when Lance says he did nothing to help

and then we get these fucking devastated faces when Lance says he doesn’t remember any of what Keith did

they had a bonding moment, he cradled him in his arms

and then we have the castle landing on a moon that is literally just a big bi flag. like that is it, the moon is a bi pride moon, look at this shit

and we have Lance flirting with Nyma while Keith makes this face

and then he switches to unimpressed mode

and then we have Lance getting frazzled when Nyma suggests she go for a ride with Keith

and then rainbow on bi moon

followed immediately by keith just chilling and smiling with Rolo and definitely not being super super gay right after the pride flag was flashed up on screen

and then we have the sequence where Keith gets Lance’s lion back and this triumphant face

morphs into this soft, soft expression the second he says Lance’s name

and then they’re both just so soft (and Lance is making up the blue part of the bi flag rn)

and then this wonderful flirting

and “I thought we bonded” over a shot of another rainbow with Lance and Keith noticeably being the only Paladins off-screen

And now for Season 2 Episode 6 where Keith doesn’t speak until Lance says this

and when we’re shown him here he’s behind Lance glaring

and once attention is on him he looks super vulnerable

and the next shot we get of him he still looks vulnerable as heck but Lance has moved over to stand beside him

and then he does the thing where he explains his tagline use to Keith before Keith has to ask what he’s talking about

and then we have our token gay keith moment when keith cradles allura in his arms and has zero reaction to it even when she is flustered and blushing - I get the impression he wouldn’t devastated if she forgot about it…

and then we have Lance looking real upset when he realises Allura and Lance have gone off together (which parallels nicely with his reaction to Nyma suggesting Keith take her for a ride)

and then we have the moment when Keith is back in the red lion and he helps the others and he’s got this triumphant face

and then Lance starts talking and he goes all soft (kinda like he did when he started talking to lance in s1e6)

and then Lance gets this look and asks if Keith and Allura are an item

and Keith’s reaction is to let his expression get even softer

LOOK AT THIS SHIT

the softest fondest keith and he is so happy Lance just asked if he was single

and then switches back to this when Hunk starts talking instead

and okay this episode doesn’t have as much Klance as s1e6 but then we have

SEASON 3 EPISODE 6

and holy fucking shit guys

which opens with Lance looking a little bi flag-ish again

with the blue suit and the red gun and the purple lighting on him and the gun and the everything

anyone else think maybe they kept their original suit colours just so lance could look a little more bi from now on?

and he’s got his eye on the targets

and he tells the “team” he’s gonna cover them but immediately brings his scope over to just one team member… *coughs*

and he just, y’know, follows keith for a while and watches him… instead of watching the enemy or any of his other teammates…

and then like two scenes later we have Lance’s “holy shit I’m bi” look and him flirting with Shiro (kinda)

and then we get multiple shots for the rest of this scene of Keith just glaring at Lance and looking thoroughly unimpressed (like he was when Lance flirted with Nyma… and Allura…)

and the very next scene starts with Keith still looking pissed 

and standing in front of his door like this when someone knocks on it, like he’s really not up for this shit right now

and then the door opens and it’s this vulnerable looking Lance

and Keith just immediately steps aside and lets go of that “I’m gonna fight anyone who dares to talk to me right now” stance

and Lance says he wants to talk about something and Keith looks so worried and then happy that he trusts him and tries to keep the atmosphere light for poor sad looking Lance

and then Lance says it’s because he’s the leader now and Keith’s expression just drops, he eyebrows literally just droop right there and then

and he gets all dejected like he shouldn’t have gotten his hopes up about Lance actually trusting him and thinking they’re close

but then Lance looks so vulnerable and tired and sad and Keith just looks so worried and soft

and he does his best to comfort and reassure him

and when Lance goes to leave he still looks super sad and dejected and Keith calls him back in such a romantic trope kinda way

and then he’s so soft and gentle and smiling and fond and jokes with him to try to lift his spirits

and Lance clearly appreciates it and look at this soft fond look he gets in return

and in the very next scene, they need to take the lions out, only like Lance said there are six paladins and only five lions, but Keith knows that Lance thinks he’s the one who will end up with no lion so before anyone else even has a chance to say anything, Keith voluntarily gives up the black lion and opts to stay at the castle so Lance won’t have to give up Red

and then when they’re on the Galra ship we have Keith looking to Lance when he’s deciding to go off on his own, and Lance agreeing with Shiro that Keith needs to stick with the rest of them while looking very worried about Keith

and then we have the fight with Lotor’s generals where Lance is bowled over by the force of a shot and Keith is sprinting to his aid before he even hits the ground

and right after that we get Lance saving Keith’s ass when he’s caught off guard and almost gets hit right in the face

he’s got you buddy

and then keith is so busy giving the softest of smiles to lance that he forgets he’s mid-battle and lets one galra general run by him and is almost blindsided by another one

anyway this post has ended up waaaaay longer than I was expecting considering I’m only talking about klance moments in THREE EPISODES but basically the point is that every episode 6 so far has been blessed and full of klance goodness and I think that season 6 is where we’ll get some canon klance and season 6 episode 6 will probably be beautiful if these are anything to go by

this has been a uh… a PSA I guess… that was… really far too long I am so sorry

but like… if there’s this much klance in three episodes alone then like… I dunno why anyone thinks it wont be canon at this point

The Dos and Don’ts of Beginning a Novel:  An Illustrated Guide

I’ve had a lot of asks lately for how to begin a book (or how not to), so here’s a post on my general rules of thumb for story openers and first chapters!  

Please note, these are incredibly broad generalizations;  if you think an opener is right for you, and your beta readers like it, there’s a good chance it’s A-OK.  When it comes to writing, one size does not fit all.  (Also note that this is for serious writers who are interested in improving their craft and/or professional publication, so kindly refrain from the obligatory handful of comments saying “umm, screw this, write however you want!!”)

So without further ado, let’s jump into it!

Don’t: 

1.  Open with a dream. 

“Just when Mary Sue was sure she’d disappear down the gullet of the monstrous, winged pig, she woke up bathed in sweat in her own bedroom.”

What?  So that entire winged pig confrontation took place in a dream and amounts to nothing?  I feel so cheated! 

Okay, not too many people open their novels with monstrous swine, but you get the idea:  false openings of any kind tend to make the reader feel as though you’ve wasted their time, and don’t usually jump into more meaty action of the story quickly enough.  It makes your opening feel lethargic and can leave your audience yawning.

Speaking of… 

2.  Open with a character waking up.  

This feels familiar to most of us, but unless your character is waking up to a zombie attack or an alien invasion, it’s generally a pretty easy recipe to get your story to drag.

No one picks a book to hear how your character brushes their teeth in the morning or what they’d like to have for dinner.  As a general rule of thumb, we read to explore things we wouldn’t otherwise get to experience.  And cussing out the alarm clock is not one of them.  

Granted, there are exceptions if your writing is exceptionally engaging, but in most cases it just sets a slow pace that will bore you and your reader to death and probably cause you to lose interest in your book within the first ten pages.  

3.  Bombard with exposition.  

Literary characters aren’t DeviantArt OCs.  And the best way to convey a character is not, in my experience, to devote the first ten pages to describing their physical appearance, personality, and backstory.  Develop your characters, and make sure their fully fleshed out – my tips on how to do so here – but you don’t need to dump all that on the reader before they have any reason to care about them.  Let the reader get to know the character gradually, learn about them, and fall in love with them as they would a person:  a little bit at a time.   

This is iffy when world building is involved, but even then it works best when the delivery feels organic and in tune with the book’s overall tone.  Think the opening of the Hobbit or Good Omens.

4.  Take yourself too seriously.

Your opener (and your novel in general) doesn’t need to be intellectually pretentious, nor is intellectual pretense the hallmark of good literature.  Good literature is, generally speaking, engaging, well-written, and enjoyable.  That’s it.  

So don’t concern yourself with creating a poetic masterpiece of an opening line/first chapter.  Just make one that’s – you guessed it – engaging, well-written, and enjoyable. 

5.  Be unintentionally hilarious.

Utilizing humor in your opening line is awesome, but check yourself to make sure your readers aren’t laughing for all the wrong reasons (this is another reason why betas are important.)  

These examples of the worst opening lines in published literature will show you what I mean – and possibly serve as a pleasant confidence booster as well: 

“As the dark and mysterious stranger approached, Angela bit her lip anxiously, hoping with every nerve, cell, and fiber of her being that this would be the one man who would understand – who would take her away from all this – and who would not just squeeze her boob and make a loud honking noise, as all the others had.”

– Ali Kawashima

“She sipped her latte gracefully, unaware of the milk foam droplets building on her mustache, which was not the peachy-fine baby fuzz that Nordic girls might have, but a really dense, dark, hirsute lip-lining row of fur common to southern Mediterranean ladies nearing menopause, and winked at the obviously charmed Spaniard at the next table.”

– Jeanne Villa

“As I gardened, gazing towards the autumnal sky, I longed to run my finger through the trail of mucus left by a single speckled slug – innocuously thrusting past my rhododendrons – and in feeling that warm slime, be swept back to planet Alderon, back into the tentacles of the alien who loved me.”

– Mary E. Patrick

“Before they met, his heart was a frozen block of ice, scarred by the skate blades of broken relationships, then she came along and like a beautiful Zamboni flooded his heart with warmth, scraped away the ugly slushy bits, and dumped them in the empty parking lot of his soul.”

– Howie McClennon

If these can get published, so can you.

Do:

1.  You know that one really interesting scene you’re itching to write?  Start with that.

Momentum is an important thing in storytelling.  If you set a fast, infectious beat, you and your reader will be itching to dance along with it.  

Similarly, slow, drowsy openers tend to lead to slow, drowsy stories that will put you both to sleep.

I see a lot of posts joking about “that awkward moment when you sit down to write but don’t know how to get to that one scene you actually wanted to write about.”  Write that scene!  If it’s at all possible, start off with it.  If not, there are still ways you can build your story around the scenes you actually want to write.

Keep in mind:  if you’re bored, your reader will almost certainly be bored as well.  So write what you want to write.  Write what makes you excited.  Don’t hold off until later, when it “really gets good.”  Odds are, the reader will not wait around that long, and you’re way more likely to become disillusioned with your story and quit.  If a scene is dragging, cut it out.  Burn bridges, find a way around.  Live, dammit. 

2.  Engage the reader.

There are several ways to go about this.  You can use wit and levity, you can present a question, and you can immerse the reader into the world you’ve created.  Just remember to do so with subtlety, and don’t try too hard;  believe me, it shows.  

Here are some of my personal favorite examples of engaging opening lines: 

“In the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move." 

– Douglas Adams, the Restaurant at the End of the Universe.

"It was the day my grandmother exploded.”

– Iain Banks, Crow Road.

“A white Pomeranian named Fluffy flew out of the a fifth-floor window in Panna, which was a grand-new building with the painter’s scaffolding still around it. Fluffy screamed.”

– Vikram Chandra, Sacred Games.

See what I’m saying?  They pull you in and do not let go.

3.  Introduce us to a main character (but do it right.)

“Shadow had done three years in prison. He was big enough and looked don’t-fuck-with-me enough that his biggest problem was killing time. So he kept himself in shape, and taught himself coin tricks, and thought a lot about how much he loved his wife.”

– Neil Gaiman, American Gods.

This is one of my favorite literary openings of all time, because right off the bat we know almost everything we need to know about Shadow’s character (i.e. that he’s rugged, pragmatic, and loving.)   

Also note that it doesn’t tell us everything about Shadow:  it presents questions that make us want to read more.  How did Shadow get into prison?  When will he get out?  Will he reunite with his wife?  There’s also more details about Shadow slowly sprinkled in throughout the book, about his past, personality, and physical appearance.  This makes him feel more real and rounded as a character, and doesn’t pull the reader out of the story.

Obviously, I’m not saying you should rip off American Gods.  You don’t even need to include a hooker eating a guy with her cooch if you don’t want to.  

But this, and other successful openers, will give you just enough information about the main character to get the story started;  rarely any good comes from infodumping, and allowing your reader to get to know your character gradually will make them feel more real.   

4.  Learn from the greats.

My list of my favorite opening lines (and why I love them) is right here.

5.  Keep moving.  

The toughest part of being a writer is that it’s a rare and glorious occasion when you’re actually satisfied with something you write.  And to add another layer of complication, what you like best probably won’t be what your readers will like best. 

If you refuse to keep moving until you have the perfect first chapter, you will never write anything beyond your first chapter.  

Set a plan, and stick to it:  having a daily/weekly word or page goal can be extremely helpful, especially when you’re starting out.  Plotting is a lifesaver (some of my favorite posts on how to do so here, here, and here.)

Keep writing, keep moving, and rewrite later.  If you stay in one place for too long, you’ll never keep going. 

Best of luck, and happy writing.  <3

So I’ve rewatched this episode a few times at this point, and each time I noticed new things about this scene. As more pieces fell together, we get a clear picture as to just how brutal Lars’ death was.

And this specific screenshot says it all.

Why? Because LARS IS CLEARLY STILL ALIVE AT THIS MOMENT. (Look at how tense his facial features are. There is no way that Lars could make this face if he was dead right now.)

Why is that important? Look at what happened seconds before, and what happens shortly after.

1) The explosion.
The robanoid had just exploded, and Lars was physically on top of it when it happened. At this point-blank range, and without any sort of protection, Lars was exposed to the full force of the blast. Just imagine being blown up at point-blank. All the fire, all the force, and whatever shrapnel would have been flying around, that’s what Lars was exposed to. AND HE WAS STILL ALIVE TO FEEL ALL OF IT.

2) The impact.
This happens a fraction of a second after this screenshot, but is still well worth noting. When Lars hit the wall, we could clearly hear a definite ‘crack’ noise. Judging by how he hit the wall, he most likely broke not just his neck, but probably his spine and skull, as well as several other bones, like his ribs or his arms. Along with this, there’s also a good chance that some of his organs may have been ruptured, such as his heart or his lungs. (Especially since the edge of the gem hole would likely have somewhat impaled him on impact.)

This is definitely the moment Lars died, as shown by how his face and body goes completely limp afterwards. But it’s still very likely he felt the agony of the impact for the split second before his death.

3) Lars’ scar.
This is probably the most brutal part of all of this.
As first said by the lovely @bedknees , the fact that Lars’ scarred eye was specifically covered by his hair before resurrection makes it very likely that his head was split open in that spot.

And I completely agree with this.

But how could this have happened? Shrapnel.

One of the reasons bombs are so deadly is not just because of the explosion, but also the resulting shrapnel that would be launched in all directions at anything in range. With Lars being at point-blank range of the explosion, he could’ve easily been exposed to this. And that’s exactly what I think happened.

Why? Because Lars’ scar doesn’t just slice through his cheek and forehead like skimming across a rocky surface may do. Lars’ scar also goes over his eyelid, which is shown whenever he blinks after his resurrection.

So how would’ve this gone down?

I think that a piece of the robanoid’s outer layer, probably sheetlike in shape, was shot through Lars’ head in a fraction of a second, cutting through this eye, skull, and brain, and launching out the other side. AND HE WAS STILL ALIVE TO FEEL THIS.(His hair deliberately covers his eye in this screenshot, in this moment where he is still alive, which probably proves this.)


And you can clearly see Lars’ face twisted in AGONY in the fraction of a second prior to his death.


Lars’ death was not a long, drawn out one, but was still a torturous one. To see just how violent and brutal his death was, it shows just how tragic this moment really is.

Bonus: Other possible scenarios

1) The shrapnel could’ve stopped partway into Lars’ skull, ultimately altering his brain function. (Steven’s magic likely wouldn’t be able to heal where the shrapnel would still be in)
(Although I think this is incredibly unlikely, since Lars is shown to act and function in the same way both before and after death. The areas of the brain that would’ve been affected would impair his speech, his perception of the environment, his motor abilities, his judgement, his emotional reactions, and his sense of self. This would result in a vastly different Lars than the one we know.)
(A similar injury has happened in real life; Phineas Gage. I suggest Googling him)
2) If the shrapnel had been much bigger, it would’ve cleanly cut off a large chunk of Lars’ head in a Mortal Kombat style death.

Red & Blue Connection Theory

Be warned there’s gonna be Voltron s3 spoilers in here!! So if you don’t want to see that, look elsewhere. (Also this is super fucking long, I’m sorry.) 

Anyway so I’ve been thinking about this a lot lately, and what with (at least temporary) Red Paladin!Lance being confirmed, now is probably the time to post this.

Coincidentally, I’ve been spending the past couple weeks looking for foreshadow of the Red and Blue Lions have some kind of Special Connection and there is quite a bit, so I thought I’d share some of what I’ve found.

The gist of it is that I think Red and Blue have some kind of connection that the other lions don’t seem to have with each other. Of course all the lions have a special bond, but there seem to be a lot of hints that the connection between Red and Blue *coughs* and their pilots is something a little different––basically, that Lance and Keith have shown a lot more interest in/connection to each other’s lions than any of the other paladins have.

(And before everyone jumps down my throat, I’m NOT proposing a permanent lion switch so jot that down lol. But I do think temporary lion switches are Good so uhhhh fight me.)

I’m not sure how to go about explaining this, but I’m just gonna break it down to:

- Keith’s connection with Blue

- Lance’s connection with Red

- What Does It Mean

Here we go!!!

Keith & Blue

- I’m still caught up on this whole “Keith sensed the Blue Lion” thing. Granted, it could have something to do with his alien abilities™ (I’m still rooting for Keith with Altean ancestry, y’all) but I still question the choice of having Keith sense Blue, of all the lions. He only detects the location of two lions in canon, and they’re––you guessed it––Blue and Red. 

First we have some kinda vague “energy” that attracts Keith to Blue:

Then we have this part where Keith just … closes his eyes and senses Red somehow??

(These both happen in the first episode, I might add.)

Like I said, this could be some kinda sixth alien sense. But, I do also wonder if it was Blue trusting & calling out to Keith specifically, which is interesting considering he’s not even her paladin.

- Also in the first episode, when they find Blue, Keith & Lance are the first ones to approach her. Keith even reaches Blue before Lance does!

And then they’re both standing right in front of Blue, side-by-side, when she wakes up.

There is still a close-up on Lance when Blue awakens––but even so, everyone else has much more of a one-on-one first interaction with their lion, so this scene in particular stands out to me.

- Other than in the first episode we don’t get much of Keith interacting with Blue in s1 (except for him saving Blue for Lance in s1e06, which is cute!)

But then there’s also this moment in s2 where he starts asking Coran about whether there might have been Galra on earth before, and whether that could have something to do with Blue being on Earth:

Which is especially interesting now that we know that Keith is part Galra. So …. is it possible the previous Blue Paladin might’ve been Galra?? or even could have been an ancestor of Keith’s?

Then of course we have Lance emerging from his room at the mention of Blue, and accusing Keith of “having his eye on the Blue Lion since day one”:

This is … kinda odd considering Keith hasn’t outwardly shown any desire to pilot Blue as far as I can remember. So, obviously this is a throwback to the very first episode in which Keith first sensed Blue––and the fact that it was brought up again out of nowhere makes me suspicious that there’s Something there that hasn’t quite been addressed yet.

Lance & Red

- *rubs hands together* Now this is Extra Fun because now I know for a fact Lance is gonna fly the Red Lion at some point in s3 because it was in the trailer and all …

:’’))

Unfortunately I don’t get to say “I told you so” because I didn’t publish this post before then, but anyway! I’ve been looking for foreshadow of this and honestly?? If you ask me, there are hints of Red Paladin!Lance since the very first episode. (Again, I’m not suggesting Lance becomes Red Paladin forever, so please don’t kill me. But I do think Lance having some kind of connection with Red has been foreshadowed.)

- So!! In the first episode I noticed that when Allura assigns each of them a lion, she doesn’t technically assign Blue to Lance (because he interrupts her, lol). It’s just kind of assumed that he’s Blue Paladin since, well, he’s flown Blue. Now, I’m not saying he’s not the Blue Paladin––he is! Buuut I also find a couple things about this scene Intriguing:

1) Lance looks like he almost expects to be assigned the lion as Allura describes it (even though he already has a lion), and then seems a bit shocked/upset when it gets assigned to Keith instead.

2) Not only that, but you may notice the Red Lion hovers between BOTH of them, which is noteworthy because this doesn’t happen to anyone else when they get their lion assigned to them. Hmmmmmm…

- This may be an unpopular opinion but I actually … also think Lance shows some Red Paladin traits. Once again, that’s not to say that Lance doesn’t also fit into the role of Blue Paladin because of course he does, but I do think he shows traces of being capable of being Red Paladin as well.

Like listen, when Allura is assigning Red, these are her exact words: “The Red Lion is temperamental and the most difficult to master. … Its pilot needs to be someone who relies more on instincts than skill alone.”

So really the only qualifications here are: 1) Be skilled. 2) Have good instincts.

And Lance?? Fits those qualifications pretty damn well. He’s a skilled pilot, sharpshooter, and strategist. And he has very strong awareness/instincts as well (i.e. being able to identify the Rover clone super fast, being able to come up with a plan on the Balmera on the fly, etc.). There’s no reason why he can’t fly Red if you ask me.

- Also, when the Red Lion gets fire power for the first time Lance is like, “I want that!!” which is interesting … especially because (at least as far as I can remember) no one else expresses jealousy for another paladin’s lion that way.

And generally I just find it kinda funny that Lance accuses Keith of having his eye on the Blue Lion when Lance has like…canonically had his eye on the Red Lion from pretty early on. 

- In addition to all of the above, there does seem to be some foreshadow about Keith getting separated from Red (at least temporarily). i.e. he has that dream about Red rejecting him.

And there’s also that vision he has in BoM where Red is far away from him.

(Tag yourself I’m the people screaming.)

Could be coincidental …. or could be intentional to foreshadow something about a certain someone else temporarily taking over as Red Paladin.

- And lastly: it may not mean anything, but in GoLion (the original anime) Isamu/Lance was Red Paladin … So, could be a nod to the original!

And yes, he wore a blue outfit but piloted the Red Lion, don’t question it. Color coordination hadn’t been invented yet. 

What Does It Mean?!

- In general, there seems to be a lot of subtle foreshadow that there is Some kind of connection between the Red and Blue lions––or at least, to an extent, Keith and Lance have connections to each other’s lions as well as their own.

- It could mean they are both capable of piloting each other’s lions. I’ll say it again––I’m not suggesting a permanent lion swap or anything along those lines, because both paladins also have very strong connections to their own lions. (Also, I’m not sure about Blue Paladin!Keith at this point, although it’s hard to say since we don’t really know what the quintessence of the Blue Lion is yet.)

However, I think in certain situations their lions could be accepting of the other’s paladin (which of course we know is possible since Keith has piloted Black before, and in the s3 trailer it appears he does so again, as well as Lance piloting Red). So, I feel like that could be important.

- As for the reason behind this connection: It could be because their elements balance each other out (you know, the whole fire-and-ice thing), but what I’m really hoping is that there is some significance in the relationship between the previous Red & Blue Paladins (interpret that however you want––but yeah like, maybe they were good friends??? or …. more than that????) and their lions built up a strong connection because of that (or vice versa).

- TL;DR: I think it’s pretty much inevitable that Red & Blue/Keith & Lance have some kind of special connection (space ranger partners™ amiright) and if you ask me there are a lot of signs pointing in that direction. That’s all, bye.

OKAY I GOT A CRAZY THEORY THAT SOMEONE PROBABLY ALREADY CAME UP WITH BUT HERE GOES

SO BASICALLY

I DON’T THINK LONG-HAIRED SHIRO IS THE REAL GOD DAMN SHIRO

LIKE OKAY THE WHOLE THING IS SHADY TO  BEGIN WITH.

so i was just finishing the last episode and i randomly thought of that pic of matt and shiro that kimiko glenn (the va of Pink Galra Lady) posted on her ig story. now stay with me here. 

  • shiro’s unnaturally long hair

so when “shiro” wakes up, we see he has long hair which wouldn’t make sense considering the timeline. we don’t know exactly how long this takes place after the last episode of season two but considering the diplomatic meeting that takes place in episode one was the first time they tried to unite after the battle, it couldn’t have been that long.i believe that they made him look ragged and beat up to make him believe he was gone for copious amounts of time. therefore further encouraging him to find his team faster.

  • the “second” shiro we see being tortured

unless shiro had some crazy ptsd flashback possibly triggered by being back in the hands of the galra (although entirely possible) seems a bit unlikely. i think this shiro we see being tortured is the actual shiro. i believe they may have used og shiro to make a potential weapon/infiltrator. they may have essentially hacked his being to transport all the things that make him shiro into this clone of him. even including his own will to fight against galra. i mean they gotta make him believable enough to fool the team. 

  •  operation kuron and stage three of it being underway once “shiro” escapes

i just think it’s TOO SHADY that they let him leave and then state that “stage three is underway.” they wanted him to escape. even if this is the real shiro we have no idea what they did to him. i believe they built him to have this reaction but once voltron had rescued him, they would activate whatever the fuck they did to him.

  • the black lion sensing his distress but shutting down on him once he got close enough

now this is the part that got me because i didn’t know how the hell the black lion could sense a fake shiro and believe it was him, but that just proves how believable this shiro can really be. don’t worry, the black lion saw right through him once he tried to pilot her. that’s why she wouldn’t budge for this shiro. not because keith has this bond with her but because no matter how accurate this shiro is, the galra can never truly recreate the bond the real shiro worked so hard to create. 

and last but not least 

  • why the fuck shiro was acting so normal after almost dying like five times

now this is what really convinced me this wasn’t the real shiro. we all saw how damaged and defeated he looked when keith was talking to him in his room. he was not ready to face the team after nearly dying literally five times. we all know shiro is the one to act like nothing is bothering him because he’s the fearless and mature leader of voltron but he was truly defeated. he was nearly caving in on himself when keith was talking to him. and for him to walk out of his room no less than what seemed like maybe 10 minutes; clean-shaven, hair all cut off, dressed in his normal attire and with a positively bright attitude after the scene beforehand? it just seemed so unbelievably impossible to me. i believe that once keith left the room, the galra somehow activated whatever they did to this shiro to create him into what we have now. i don’t know what they’re planning on using him for but i don’t trust him, and i don’t think y’all should either.


TL;DR the shiro we have now is a clone that the galra made as some secret weapon/infiltrator and i don’t trust him

All About Writing Fight Scenes

@galaxies-are-my-ink asked,

“Do you have any advice on writing fight scenes? The type of scene I’m writing is mostly hand to hand combat between two experts. I’m definitely not an expert so when I try to write it, the scene ends up sounding repetitive and dull.”

Fore note: This post is coauthored by myself and one of my amazing critique partners, Barik S. Smith, who both writes fantastic fight scenes and teaches mixed martial arts, various artistic martial arts, and weapons classes.

I (Bryn) will tell you a secret: I trained MMA for seven years, and when I write authentic hand to hand fight scenes, they sound dull too. 

The problem with fight scenes in books is that trying to describe each punch and kick and movement (especially if it’s the only thing you’re describing) creates a fight that feels like it’s in slow motion. 

I write…

Lowering her center of gravity, she held her right hand tight to her face and threw a jab towards his chin. He shifted his weight, ducking under her punch. His hair brushed against her fist, and he stepped forward, launching a shovel hook into her exposed side.

But your brain can only read so fast. In real life that series of events would take an instant, but I needed a full eight seconds to read and comprehend it, which gave it an inherent lethargic feel. 

So, we have two primary problems:

  1. How do we describe this fight in a way the reader can understand and keep track of? 
  2. How do we maintain a fast paced, interesting fight once we’ve broken down the fight far enough for readers to understand it? 

(We will get back to these, I promise.) But for now, let’s look at…

Different types of “fight scenes:”

Keep reading

Truth about the 'Glamorous Lifestyle' of a Sugar Baby/Escort.

To Aspiring Sugar babies and Escorts

Listen ladies, I’ve been privileged enough to have been on private jets, exotic ‘vacations’, dined in x number of Michelin star dinners, worn the most beautiful dresses on the arm of SD’s, played that Pretty Woman scene when she goes shopping, etc….

I wish I had known the truth before joining, especially since I was so young.

Let me tell you this now: it’s not real. It’s not OUR reality. This is an example of a typical ‘upscale’ escort/sugar baby experience some will probably encounter at some point in their SW career.

Their reality: A sexy 18-29 year old in an even sexier dress hanging off of my arm. I can afford the caviar AND her. Every man in this bar is jealous, and trying to talk to her while I cop a feel of her ass. Another bottle of expensive champagne? Why not. She deserves to try the best. This is an incredible life.

Your reality: I’m in a foreign place where I don’t know anybody, wearing a dress that normally screams “rape bait” (at his request), with a man old enough to be my father, if not my grandfather. The host suspect I’m probably a “hooker” since I didn’t even know what the name of the reservation is under. This dress is making it difficult to breathe. Oh god, I need another drink of whatever it is in that bottle to get through another dinner where he’s trying to drunkenly fondle me under the table. I have to smile sweetly. Need to repeatedly remind myself to ignore the sneering glances from the waiters.

His reality later that night: I can’t wait to show her the top-floor suite of this place with the beautiful view. I even had my assistant go pick up some nice sets of lingerie from the store she mentioned she likes. I already made sure the rest of her envelope with her gift/donation is ready with her name on it. I’ll get the candles lit, have another bottle of wine sent up, and romantic music to top it all off. It’s gonna be a night of romance and passion with a beautiful girl. God, she’s gorgeous.

Your reality later that night: This view would be beautiful if it weren’t for the 50 year old behind me, nibbling his dry lips on my ear while I’m trying to enjoy the ambience. At least my rent money is in that envelope with a random name on it. He hands me a bag from Victoria Secret. I have to pretend to be super excited to get try on see-through lace for an old man now. He takes off his shirt, it’s just a forest of white hair and wrinkly skin. Next to the candle lighter, I see the magic blue pills. This is going to be a VERY long night.

Next day reality for him: I think I have enough time for room service before my flight. I’ll see if I can call the other SW from that other town to arrange another rendezvous for when I’m done with work. I should probably order two dozen roses, delivered to my wife so she knows I’m thinking of her. Note to self, call assistant to order roses and withdraw more cash. Oh wait, what’s that girl in my hotel room right now called? Ashley? Sarah? I’ll leave her a few hundred dollars as tip, save her number and I’ll call her again when I’m in town. I’m glad she really enjoyed the sex. She deserves it from all those times with unattractive and gross clients. At 54, I still got it.

Next day reality for you: Fuck, I have no idea how to get back to my own town without using all of the money he gave me for fare. My rent is due tomorrow, and tuition is due next month. I still have a client in 5 hours, my paper is due tomorrow but I haven’t even started. I have the worst hangover ever. At least I don’t remember much from last night, except his sandpaper tongue running all over my body. I shivered, but thankfully I fake moaned so it sounded like I was enjoying it.

Moral of this post: Don’t join the industry based on the glamorous lifestyle of the CLIENTS. Many of the blogs I see paint the image seen through HIS (the client) eyes, not YOURS (the service provider).

When your service is over, you turn back into a normal girl; back to grocery nights at Ralph’s, back to yelping the cheapest nail salon place, back to having fun with friends playing beer pong, back to being “Sarah or Ashley” because you have bills. Part of your service is renting you as a prop for their lifestyle. Never confuse that with YOUR lifestyle. ‘Vacationing’ in Cabo with him is NOT the same as doing so at your leisure with your friends.

If you still don’t quite understand what I’m saying, let me put it this way; bedazzled French pedicures are beautiful, right? You love being pampered in that massage chair, getting massaged, and ending up with a gorgeous pedicure. It’s stunning and glamorous experience, no?

Guess what. Not from the perspective of the pedicurist scrubbing your feet. There’s nothing glamorous about it for her because whereas she’s the service PROVIDER, YOU are the CLIENT. Same situation, very different experience.

This is something many of us learned the hard way. Yes, this lifestyle can come with many glamorous perks and experiences but there’s definitely a price to pay. Don’t be delusional. If this was all that easy, don’t you think every female on this planet would be in the industry?

After several years of experience I’ve learned to be immune to the ‘wrappings’ of the industry. You are here to make money. All those Roseshire roses, expensive dinners, fancy car rides, delicate lingerie are for HIS fantasy, and does very little for YOUR wallet. Don’t be blind sighted by the fancy tricks he pulls because it isn’t tangible. Never lose sight of your 'paycheck’. Once you see this lifestyle as what it truly is - a job; you become far less naive and more focused on your goals.

Always remember: There’s a price to pay for money.

Stay safe, ladies. 💸💸💸

The Last Jedi Trailer Breakdown

* Please note that the following breakdown contains some potential spoilers for the movie - they’re mostly based on inferences and rumours, but you probably want to skip this post entirely if you’re spoiler-averse. *

I’m exhausted (I woke up way too early to watch that trailer!), but I knew I couldn’t rest until I had done this. There is so much to unpack here, so you’ll have to excuse me for omitting some things (mainly space battles) and skimming over others. 

I’m sure I’m wrong with a good chunk of this, but this is all meant in good fun.

I hope you enjoy my first stab at breaking this baby down - if you think it can be improved or spot anything that needs to be corrected, please let me know.

Keep reading

i’m just thinking about something griffin said in the new ttazz, about how the mcelroys are 4 cishet white dudes, and they didn’t want to only tell stories about cishet white dudes. there’s a post i saw a while ago that essentially said, “write stories with diverse characters, but don’t tell stories that you don’t understand.” like, white people should absolutely have people of color in our stories, but we can’t write about being a person of color because it isn’t our story to tell. and i feel like the adventure zone handled this pretty damn well. taako is a gay man who is dating another man. he doesn’t go through a big emotional struggle because of his sexuality, he doesn’t have a coming out scene, he doesn’t have to deal with homophobic attacks, because justin is straight and he isn’t able to talk about being gay because he isn’t. lup is a trans woman whose gender isn’t talked about- not because it isn’t important, but because griffin is cis and doesn’t know what being trans is like. i mean, they also aren’t wizards and elves and stuff, but wizards and elves and stuff aren’t real people with real struggles. the characters’ orientations and genders are part of them but not the defining part of them. justin and griffin roleplay taako and kravitz just as they would roleplay a dude and a lady who were dating: a little awkwardly, because they’re brothers, but organically and immersively. idk, this post is too long and somewhat incoherent, but i just love these boys and this story and these characters so much

anonymous asked:

do you have tips on comic compostions and angling/framing of scenes beacuse holy fudge what the actual hell your mob comic is An Expirience

hhhhhhhhhhhhhhhhhhhhOOOOOOOOOOOO BO Y AIGHT

I’m gonna take this ask as a chance to masterpost about this comic.

Since there wasn’t a set time limit for this comic, I went all ham for it, which means there’s a lot of thought about angles/framing n shit in this sumbitch. (keep in mind i’m still learning this craft myself as i go along so FEEL FREE TO IMPROVE WHEREVER)

I’ll go in depth about it but all of my tips can be summed up with : 

go for the emotion of the scene.

Everything I do, I do to try and heighten the feeling in a scene. Everything I’m about to describe were all choices to try and maximize the emotional impressions.

Angles 

First off, everything in this comic (with the exception of panels 7-9 on page 4) is from Mob’s POV. Everything is built from there. keep in mind goin forward -

We start with Mob terrified of being spotted, of running into anyone. So I strained the perspective to make it feel too close for comfort, despite how far away his other limbs are. I also used the angle to emphasize the “spotlight”, pushing Mob into further discomfort, like he’s being watched anyways.

Mob fears he just murdered someone ? At his lowest moment in this comic? This is where the camera looks down on Mob the most.

Time for shock and awe that the man’s alive ! So Reigen is angled UP, building his Bigness in Mob’s eyes. Most subsequent shots repeat this, keeping us grounded in Mob’s perspective.

Here, Mob is literally on his knees asking for answers. So I pushed for an angle to make him seem really tiny. I wanted him to look as small as he feels.

In the next few pages, the angles basically level out (and I’ll talk more about why in other sections***) until

Mob has just touched back. This was a direct action on his part, so just as I’d built Reigen with that tilt up, it’s Mob’s turn to share that space.

Once Mob fears for the lives of the police, we shift back to high angles. Using a high angle to make a character seem small isn’t groundbreaking but it’s something to chew anyways.

This is less about the angle and more about how cramped everything is. Mob feels backed into a corner unless he can get Reigen to relent. So the tightness and how Reigen looms reflects this.

And here, I mirrored the very first panel. Once again we have a shot of Mob’s back, walking into the light of a streetlamp. But this angle is gentle in comparison, even if slightly off center. We can see where the light comes from so it ceases to feel less like an omnipotent threat and more mundane. Perhaps even hopeful.

Paneling 

I’m sorry to say I feel this is one of my weak points as a creator. I’d like to improve here the most. Most of my panels can be summed up with ‘slant = energized’, ‘straight = stable’. BUT. I did take a few liberties here and it’s good to point them out.

Broken glass to heighten the ouch on Mob’s part.

Salt man don’t give a fuck. he IS the panel. //adds to the energy of this moment

This break from the panels is meant to make Mob hitting Reigen a more immediate threat.

Same with Reigen reaching around it here. He’s still in danger of being shreddy shreddy at this point.

Sometimes a panel will bleed off, to give a more ‘open space’ feel. I like to use it in subtle “oh” moments. That’s the best I could describe it.

annnnnd nothin like a casual reminder on the edges of panels about what would happen should the police show up.

Staging/Body Language

Once Reigen shows up, he dominates the frame, even in shots where mob is closer to the audience. Again, this is all to emphasize how Big Reigen seems to a scared Mobbu.

Mob pushes himself to corners, Reigen’s given the bulk of the space. 

He stands taller than mob and makes the frame uneven.

Even his hand feels huge in comparison.

***That is, until Reigen has a better perception of what’s going on.

Then his actions and staging reflect this.

Reigen kneels down, trying to make himself smaller both to Mob, and in the frame.

The staging reflects Reigen’s attempts to get on even ground, literally and metaphorically.

Mob’s still pushing himself into corners, but now Reigen has actively surrendered some of the space.

Still just, trying to get some of Mob’s perspective.

And from this point onwards, Reigen and Mob share the space/frame more evenly. 

Even in shots where Reigen’s kinda large, he no longer seems so imposing.

Mob still looks up to him but we no longer have such dramatic shots tilting him up and having him hog the focus of the panel.

And we save the closest-closeup, both in staging and in how close our characters physically feel for last. Because bonding and shit.

Coloring

Decided to make the use of color sort of uncomfortable. Hinted at in edges but not really a presence of their own. Hard to tell what the color of anything is because it’s all nonsense in ur peripherals.

Until we get to humans. But this color seems more invasive, and doesn’t really touch mob in a positive way.

Till we get to these splash of color, messy and kinda unorganized but it’s exactly what Mob needs to bring some order.

From here we get a muted color wash, there but still slightly dulled.

The first hint we get of the saturation to come is centered around the touch.

We slowly fade into full blown saturation once Mob reaches back.

Fanfic bonus

The name meanings of Jun and Tetsuo, since this is the street where they live and why not ahaha.

There’s a lot of bird imagery in ABoT so I

“Kid, it’s like lifting a feather.”

And even tho Reig gets a cool halo from the streetlights n shit

We all know who the real angel is

Other fun shit

Mob’s outfit is based on Sakurai’s outfit when he was orphaned as a child.

I literally put the streetlight directly behind the hand in this shot because I lack subtlety and love it.

There are 2 times where I cut out a bit of (frankly beautiful) wordage in order to show things better visually. Both times happen when Mob’s stopped paying attention.

First with Reigen’s words just becoming a flood of nonsense pretty sounds.

The second when Mob’s thinking about the possibility of his barrier being gone.

also here u guys can have some behind the scenes shenanigans

15 things about Ishval that Brotherhood cut out

After rewatching Fullmetal Alchemist Brotherhood recently, I was once again extremely disappointed at the amount of content the anime cut out when it covered the Ishval war in episode 30. Volume 15 of the manga (which was entirely dedicated to showing the war in detail across four chapters) still remains my favourite volume of the whole series, so I wanted to talk about 15 things that Brotherhood cut out. Some of them are minor scenes and some are more major plot points.

The images I’ve included in this post have been taken directly from the Viz Media manga, as I really dislike the poor quality scanlations of FMA that are out there. I would highly recommend buying Volume 15 for yourself, even if it’s the only volume of FMA you ever own.

The things I’ll be covering are:

  1. Neighbouring country Aerugo’s role in the war
  2. The Ishvalans as people - their lives and strengths
  3. The Rockbells’ extra scenes
  4. The military’s order to kill the Rockbells
  5. Roy, Hughes, and Hawkeye’s extra scenes
  6. Hughes’ extended scenes as a squad captain
  7. Corruption of high-ranking officers and internal assassination
  8. Armstrong’s extra scene
  9. Torture & human experimentation of Ishvalans
  10. Doctor Marcoh & Doctor Knox’s extra scene
  11. Roy’s role as the Hero of Ishval
  12. Scar’s brother’s scenes
  13. Roy’s squad
  14. Children as the victims of the war
  15. The overall portrayal of the war, and how Volume 15 was written/illustrated

** VERY LONG POST UNDER THE CUT, VERY IMAGE HEAVY **

Let’s begin!

Keep reading

HOW ARE WE NOT TALKING ABOUT HONERVA?

What about Honerva? Oh idk, maybe…

THIS

WHAT THE FUCK

SHE’S USING HER ALTEAN POWERS TO HIDE HER ENTIRE IDENTITY!

Now okay this entire time I’ve been wondering:

How does no one including her own son not recognize her??

“No one comprehended that the experiments of my mother, Honerva, could never be undone. I had a secret team construct this inter-reality gate on the rift, where her work began.”

SO HE THINKS SHE’S DEAD

But why wouldn’t he recognize her right?

BECAUSE FOR ALL THESE 10,000+ YEARS SHE HAS BEEN HIDING HER IDENTITY!

And just look at her expression. She is shocked to see her real face after so long.

Clearly getting her memories back in season 3 has changed her perspective on a lot of things.

It’s like she was almost reborn again

“No one can completely wipe a memory away. There are always remnants deep within to claw out.”

BUDDY SHE IS SPEAKING FROM EXPERIENCE HERE

This could be foreshadowing to Zarkon possibly remembering some day through some sort of experience, considering he clearly didn’t remember even after she woke him up with her power drawn from those memories.

But back to the scene revealing her real identity:

Her pupils are shaking, her eyes are blood-shot, and she looks very distressed!

The amount of stress on her body over 10,000 YEARS is obviously going to take its toll on her. Her body is most likely permanently damaged from what happened to her when she was on her death bed.

Even if it is not the most noticeable thing happening in the show, she is clearly drawing back to being more Honerva than Haggar.

(Honerva was clearly crazy too and was a “science or death” woman but she was at least a little more sympathetic(?) as Honerva)

So I just wanted to point this out since I have seen absolutely no posts about this meanwhile I was screaming when it actually happened.

Theory time: so it’s clear that Zarkon(and everyone else in the universe) believe that Honerva died 10,000 years ago.

And as we’ve seen here, the purple/blue skin look and glowing eyes are part of an Altea transformation that she did to hide her identity.

Maybe when she woke up from being dead, she decided that the loss of his wife is exactly what zarkon needed to rule his empire with proper authority, considering he risked everything to try and save her she was obviously his weak spot.

So she wakes up before him and decides she’s going to be Haggar, the High Priestess of the galra empire, here to advise and help zarkon in anyway possible. And then over those 10,000+ years she forgot who she was, what with being swept up in the Druid magic and quintessence.

All she knew after a certain point was that she was Haggar. She clearly did not remember Lotor being her son until she gained her memories back. And it’s stated she didn’t realize zarkon was her husband until they came back.

So yeah this post is long sorry about that. Happy Season 4 Day everyone!

8

I finally read Boys at long last bc it seemed like a fandom favorite everyone and their goldfish read, and man. For being originally posted in 2008, it stands up to the sands of time and is done so wonderfully. It really encompasses everything in a realistic way with wonderfully flawed, human characters written as realistic teenagers/young adults as well as portraying so many of the aesthetics and characterizations the fandom had pre-Days that slowly disappeared over time. 
A lot of the references to what was happening in the 90s and culture in itself went over my head, but for the most part those aren’t utterly detrimental. I also found the timeflow to be a little strange, as it felt like it was taking place over months, but it does work as drama in your life as a teenager feels like 70 years.

Goddamn, if you like a novel-long read about some queer kids in the 90s with issues they’re slowly figuring out, then by all means please read it. Possibly the best fic I’ve read in this fandom, and I’m glad I read it now as opposed to as the little 13 year old I was when it came out because I wouldn’t have been able to grasp so much of the stuff in it. I would read the warnings on the fic, as there is drug use, alcohol use, violence, (rather vague and more emotionally perceptive) sex, teenagers being shitty, and so on.

Anyway, enjoy a shitton of art of various scenes, hope nothing’s really all that spoiled for you (I tried to avoid drawing spoilers!)

Do not repost or use without proper credit, ask first please.

why lance (probably) won’t be the red paladin, and also why keith (probably) won’t be the black paladin

alright, so, chances are you’ve watched and rewatched the season three trailer multiple times. or, at least, i have. in it, we see lance in both the blue lion and the red lion, and we also see keith in the black lion. 

Keep reading

Lighting in The Last Jedi trailer and that scene we are all talking about.

Like many of you that last bit of the trailer had me screaming at the tv. After the initial freak out phase had passed, I began to slowly shift into the what if phase, meaning– are they baiting me? Now there are several theories out there about who Kylo is holding his hand out too. Some say its Leia and not Rey. What if I told you the proof is in the shot itself? 

I am about to give you a quick lesson in lighting, visual storytelling, and cinematography. 

Let’s go back to The Force Awakens as a reference guide. The lighting on Starkiller base bridge you know that scene where he kills his dad? 

Lighting was something they made sure to get right in this scene. Notice how Kylo’s face is half hidden in shadow and the other in light. Signifying his split.

JJ says this  “ And you see the light go away. And now they’re in this darkness. And darkness takes over.”

The play with light was even more apparent when Kylo and Rey face off against the edge of the cliff. 

Now I’m about to throw some cited literary sources about Film and Lighting just so it’s importance is established. 

“In visual storytelling, few elements are as effective and as powerful as light and color. They have the ability to reach the viewers at a purely emotional gut level”(Brown, 2012, p. 8).

Light becomes mood that gives its tone to a film. It calls upon our memory to react to physical phenomena such as cold, rain, fog, sun, or dryness, and come up with psychological equivalents such as annoyance, sadness, mystery, fear, anguish, comfort, joy, gaiety, etc. As these effects produce immediate impressions in viewers, the cinematographer is able to obtain psychological reactions out of mere technical means (Geuens, 2000, p. 153).


Architecture and Film both use perceptual psychology to get people to see spaces in a certain way. Architecture lighting designers skillfully illuminate buildings and rooms with psychological intentions.

Lighting designers think about a psychological response and how behavior is affected by lighting. Some examples are:

1. Visibility of vertical and horizontal junctions aids orientation.

2. People follow the brightest path.

3. Brightness can focus attention.

4. Facing wall luminance is a preference.

5. Lighting can affect body position (Ginthner, accessed April, 2013 p.2).

Just as lighting designers light spaces to stimulate human mood and behavior, Cinematographers light the space inside a movie frame with the intent to persuade a viewer’s perception. The way objects are lit in the frame will focus the viewer’s attention, the amount of shadows cast will limit perception, and changing lights can indicate a change in a character or opportunity (Brown, 2012).

However, unlike film, architecture has had a psychological study on how different light in a physical space effect human arousal, concentration, memory, work productivity, and Mood.

If you take any type of filmmaking class, this is one of the first things you learn. Nothing is a mistake in these films everything is as designed to serve a purpose. 

So let’s dive into the scene in question. 

Originally posted by mine-loves

First of all, let us talk about how these two shots are framed. They are close up only showing the faces of our characters. 

Close up shots typically contain just the face and shoulders of a subject, with a little headroom above. This prevents ‘floating head syndrome’ as the shoulders suggest to the brain that there is a body below! These shots are the most common of all as they can convey a real sense of emotion and help the audience to connect with the subject.

Second, let’s talk about the choice of lighting

They are both in a warm fiery glow. 

You can judge the quality of light in a film scene through the hardness or softness of its shadows. Hard quality light has dark shadows with sharp edges and often feels more raw than soft quality light. Soft lighting, often used in older films, has lighter, diffused shadows and tends to feel more sentimental.

And with advances in film technology, sharp shadows can also be quite romantic. Case in point, this still from the end of the 2005 version of Pride and Prejudice:

Third, let’s talk color 

Color temperature is one of the first things to note when studying the lighting in a romantic scene. Is it orange? Bluish? White? Most often, warm colors add to an inviting, romantic atmosphere. For example, the warm light in the sunset scene in Titanic draws the audience in, unlike the cold, blue lighting later in the movie, after things get dire.

Forth let’s talk context

This is not the same scene with Kylo. Rey is still wearing her resistance clothing. This is the beginning of the film. 

The context matters especially in this scene where Rey is talking about needing someone to show her where she belongs. Is this romantic? The answer is, no. Is it intimate? Yes. The scene can be set up this way without any romantic implications. But it is definitely meant to be intimate. Rey is vulnerable at this moment and is speaking from her heart to Luke. Please show me what to do with myself. 

Now let’s move to Kylo’s scene which is no doubt at the end of the movie (because his scar is healed.) 

Our big bad villain is bathed in nearly the exact same lighting and color as Rey’s shot, even the framing is the same. In no other shot ever has Kylo Ren been depicted in these colors. Not in the teaser and not in TFA. Kylo is always in red or dark. The context of this shot is very very important. He is reaching out palm up as to take someone’s hand. He does this slow and gentle. His face is soft with what I would say a plea. 

Yes, this is a call back to Darth Vader asking Luke to join him on the Darkside in Empire Strikes Back. But if you go back and watch that scene it is intimately framed (remember context matters), but the colors are pale. Lukes’ face is in agony. Vader extends his hand it’s rigid and forced.


Before I get into more examples, I want to point out that yes trailers are meant to give you an idea, and intrigue you but they are also meant to misdirect. 

Trailer Misdirects/Visual Storytelling and Dialogue

The misdirect of this scene is to make you believe Rey might join the dark side with Kylo or at least first glance. General Audience viewers casual fans who do not give it any second deep thought will accept this and move on. However, more dedicated fans will step in and try to dissect the scene by looking at the image and not the overall meaning behind everything we discussed above. The trailer isn’t designed to give anything away. Which leads me to say this is very smart editing on Rian’s behalf. While it doesn’t give us the answer of will, she or won’t she? It provides us with the question that we will inevitably discuss in length until the movie is released. 

 I would also like to point out there is a visual storytelling aspect of this trailer when it comes to the dialogue. 

One example of this not related to the scene in question comes from Poe Dameron.  He states “We have the spark that will ignite the fire to bring the First Order down.” The next scene we get is Finn. It is pretty clear that bit of dialogue was meant for Finn. He will no doubt help bring the FO down as other Stormtroopers defect as he did. Finn is that spark for the rebellion. Now let’s talk about the Rey/Kylo scene. The same thing happens here. Her dialogue coincides with the next shot of Kylo. Also, notice (scroll up if you need to) how their faces are opposite each other Rey is looking slightly to our left while Kylo is looking slightly to the right. Their positions are mirrored which is a recurring theme in the TFA (see the snow fight). This is beautiful visual storytelling. TFA was full of the same imagery lighting and storytelling. I have a post about it HERE

I went through and found scenes that mimic that of what we saw in the trailer, down to color, lighting, and frame.  I also chose male and female characters. Guess what, all of them were romantic. 

I chose this because of the flares in the background and the close-up framing of their faces. Notice yes the color is blue because they are parting (remember CONTEXT). 

Next, we have a scene from Pride and Prejudice, but beyond the romance aspect, I want you to watch the light change of this scene. Elizabeth is bathed in blue until she accepts Darcy, taking his hand. The sunlight beams between them warming the scene.  Skip to 3:10

Here is an oldie but a goody. I chose this due to the color. Now remember this film is old, lighting techniques have come a long way since the 1930s, but their choice of color is important, along with the shadows on their faces. 

Ah, Jon and Dany. This is very romantic (even tho its incest lol) But take a look at the lighting between them also this part is (NSFW) if you are gonna watch till the end. You were warned. 


And now for the grand finale TFA cliff scene. Oh, I chose this little diddy to drive home a point. Kylo and Reys’ faces are framed intimately (which signified they would have a more profound connection later and at that moment they were finding the Force together) But also notice their faces are bathed in mostly pale colors due to it being cold. Yes, the lightsabers flicker red and blue onto them. Yes, that holds meaning as well, the fight between the dark and the light. But the overall pallet is pale frigid colors. Also, the context -- there’s that word again– of this scene is they are enemies fighting. Kylo does want to teach her, but he’s aggressive and forceful, to say the least. It is a stark contrast to what we see in TLJ trailer. Where he is calm relaxed and in warm, inviting lighting. No aggressive posture, no forceful plea.

If you want to contrast another couple, please refer to Pride and Prejudice again. I can’t upload it here, but this is the link. This is where Darcy says he loves Elizabeth, but she rejects him. They have close-ups, but the color and lighting are not intimate. Its pale lighter and blue. All things that are associated with sadness rejection etc. You get the point. 

So in conclusion. It is my opinion based on all information gathered on cinematography, that yes the relationship between Kylo Ren or perhaps Ben Solo at this point has drastically changed. It is no longer one of animosity or hate. Judging by the warm colors, and the soft shadows and above all else the context of the gesture/posture/facial expression of Ben it is romantic or at the very least (for the skeptics) a special relationship– Remember Rey and Ben are similar in Force power according to Luke- this gives them a bridge to each other one that will take them to understanding and COMPASSION. I am not saying they kiss, I am not saying they are a couple at the end of this movie. I am saying that it’s possible that it will move in this direction. They no longer hate each other. How did we get to this point? Well, we have a whole Act 1 and 2 to get through for that answer. 

I will stress that I believe that yes Ben/Kylo is holding his hand out to Rey. And no, it is not out of malice or deception. He is not asking her to join him on the Darkside… He is asking her to go with him and for acceptance. 

I made a follow-up post to this because this was so long! Please click here to see more examples and extra information