#like. his backstory created in real time to try and satisfy the audience only for him to be brought back and a new robin in his place...

[hearthomelesbian]

*girl who only has second hand batman knowledge voice* jason todd...

[unboundprompts]

hi, i love your prompts!!

can you do prompts/suggestions for revealing a character’s tragic backstory to the other characters? mostly with like hurt/comfort or angst. please n thanks!

How to Reveal a Tragic Backstory

check out these sources:

The Backstory Drip: Helping Writers Become Authors

When Do You Reveal a Backstory of a Character?: Writing Stack Exchange

Writing Character Backstory That Feels Real: Now Novel

1. Establish Context Before the Reveal

Before revealing a tragic backstory, it's crucial to lay the groundwork. Give the audience some clues or hints about the character’s pain or past struggles without fully explaining it. This builds curiosity and tension, making the eventual reveal more satisfying.

Example: Throughout the story, you might show the character having nightmares, flinching at certain triggers, or displaying a particular behavior (like pushing others away) that hints at something painful in their past.

2. Choose the Right Moment

A tragic backstory should be revealed at a moment that feels natural and emotionally charged. Don’t force it into the plot. Often, it works best when the character is vulnerable, perhaps during a quiet moment, when they feel safe enough to let their guard down, or during a crisis when the emotional dam breaks.

Example: The character might reveal their past during a moment of intense emotional vulnerability, like when they think they’re about to lose someone else they care about, or when they are experiencing a setback that mirrors their past trauma.

3. Keep It Uncomfortable

A tragic backstory is rarely easy to talk about, and the discomfort surrounding the reveal can be just as important as the backstory itself. Let the character struggle with the words or try to push the conversation away, only to be coaxed into speaking. This makes the moment feel more authentic and raw.

Example: The character might start the conversation with, "It’s not important" or "I don’t want to talk about it," before finally giving in to the other character’s gentle probing or a shift in the situation that forces them to face the truth.

4. Show, Don’t Just Tell

Instead of simply stating the tragic event, show how it affects the character through their actions, memories, or how they interact with others. This deepens the emotional impact, allowing readers to experience the pain with the character rather than just being told what happened.

Example: Rather than saying, "He lost his entire family in the fire," you could show how the character avoids talking about their family, has flashbacks when they see something related to fire, or even flinches at certain words associated with their trauma.

5. Use Symbolism

The tragic backstory can be tied to something physical, symbolic, or thematic in the narrative. A certain object, place, or even weather can be used to evoke memories of the past, creating a deeper emotional connection.

Example: If the character lost someone they loved in a car accident, perhaps they always have trouble getting into cars, or they wear a piece of jewelry that reminds them of the person. When this item or memory is triggered, the character opens up about the event.

6. Layer the Reveal

Sometimes, a tragic backstory is revealed in pieces over time. A character might not reveal everything all at once, but bits and pieces come out as the story progresses. This gradual reveal can allow you to build emotional complexity and deepen the audience’s understanding of the character.

Example: The character might first mention a loss in passing, then later reveal more details about the circumstances surrounding that loss. In a climactic moment, they might confess the full extent of their pain, perhaps adding a new layer of guilt or unresolved anger.

7. Avoid Making It “Too Perfect”

Tragedy isn’t always a neat, tidy narrative. It’s often messy, complicated, and filled with unresolved feelings. Don’t try to make the tragic backstory feel like it was meant to be "healed" or resolved easily. Characters are shaped by tragedy, and the wounds might never fully heal.

Example: The character might express regret or resentment, even years later. They might struggle with feelings of guilt, or they might have difficulty trusting others due to their past experiences.

8. Don’t Overload the Backstory

While tragic backstories are emotionally powerful, too many details can overwhelm the reader or distract from the present story. Instead, focus on the most crucial parts of the past that shaped the character’s current behavior, rather than telling every painful moment.

Example: Rather than describing an entire traumatic event in detail, focus on how it emotionally affected the character. Perhaps the character doesn’t want to remember, so the backstory is revealed only through emotional reactions to certain triggers or through small, painful details.

9. Use the Backstory as a Motivator

After revealing the tragic backstory, the character’s actions should be influenced by it. Their trauma will affect their decisions, and it’s important to show how it shapes their journey going forward.

Example: The character might reveal that they lost someone to violence, and that’s why they became a protector of others. Or maybe their tragic past has made them emotionally distant, but in the course of the story, they gradually learn to trust and open up.

10. Make the Reveal Matter to the Plot

A tragic backstory shouldn’t just be there to elicit sympathy. It should tie into the character’s motivations, fears, and relationships with other characters. If the backstory doesn’t serve a purpose for the plot, it can feel like unnecessary exposition.

Example: If the character is hesitant to form deep relationships because of their tragic past, this fear will be challenged by their interactions with the other characters. Perhaps their backstory also explains why they’re so skilled in a certain area, giving the plot a practical reason for them to be involved in the current situation.

Writing Prompts Revealing a Tragic Backstory

-> feel free to edit and adjust pronouns as you see fit.

She leaned against the worn table, fingers tracing the edge of a chipped mug, not meeting his eyes. "I didn’t always… I wasn’t always this," she began, her voice thin, strained. He sat across from her, waiting, but not pushing. She swallowed, her chest tightening. "There was a fire, years ago. I was just a kid. My parents—" She stopped, shaking her head, as though the words couldn’t pass her lips without choking her. "I don’t even know how I made it out."

She reached out to touch his shoulder, a gesture of comfort, but he recoiled as if her hand was burning him. His eyes widened, panic flashing across his face. "Don’t," he muttered, backing away, his chest rising and falling with rapid breaths. "Please don’t." She stared, mouth dry, unsure what she had done wrong, but the way his face twisted as if remembering something painful told her everything she needed to know.

They jolted awake, heart pounding, gasping for breath as the remnants of the nightmare clung to them. The other person, already awake, noticed and reached out, pulling them into their arms. "Shh, it’s okay," they whispered softly, but the words barely registered. "I couldn’t save her," they choked out, voice raw. "I promised, but I—" The sob broke free before they could finish, and the other person tightened their hold, pressing their forehead against theirs. "You didn’t fail," they whispered, offering the comfort of their presence. "You're safe now."

They were walking in silence, the soft crunch of gravel beneath their boots the only sound between them. He kept his head down, eyes fixed on the ground, his hands shoved deep in his pockets. Then, without warning, he stopped. "I watched him die," he said, his voice rough, as though the words were hard to spit out. She turned, startled by the suddenness, but he didn’t meet her gaze. "My brother. He bled out before anyone could help." His jaw tightened, eyes distant. "And I couldn’t do a damn thing."

Her laughter echoed in the room, but it faltered when she saw his face. He wasn’t laughing. He was staring, distant, lost in some memory only he could see. "What’s wrong?" she asked, suddenly concerned. His eyes snapped back to her, and he forced a smile that didn’t reach his eyes. "Nothing." He turned away quickly, but not before she saw the tear that had escaped down his cheek. "I just... you made me think of my sister."

[blueeyeswhitegarden]

Day 27: Square Zero @arcvmonth

I really loved the reveal of the Original World itself. It felt like payoff for some of the biggest mysteries in the series. It was so satisfying and engaging to hear Leo's story. It made perfect sense as to why we couldn't learn about the Original World sooner too. Leo was the only survivor of the Original World's destruction and because he was locked away at Academia, there was no way for the cast to confront him until they got there. I always thought that the creation of the four Dimensions was a hard reboot of the world. The counterparts, as well as Leo, were just tossed through time and space to arrive at specific points in their respective Dimensions. We don't see any other established characters in those flashbacks. They already had younger designs for Yusho, Yoko and Shuzo, so they could have included them or other established characters to indicate that everyone older than fourteen was from the Original World placed into new Dimensions. Yoko had her flashback when she was in a biker gang and how she met Yusho, which means that they have memories from before the counterparts were created in these four Dimensions. Reiji was also never mentioned in the flashback. Even if they didn't want to design a two year old Reiji, it would have been extremely easy for him to get a mention. It could have even been a reason as to why Ray wanted Leo to stay. She could have said that Reiji needed his father more than his sister, which would be pretty depressing, but it would have been an easy way to indicate that Reiji existed in the Original World. What happened after the Zarc battle was more of a soft reboot by comparison since it was trying to restore balance as opposed to creating new worlds from the destruction of the Original World. It seemingly only affected the Standard Dimension since it had become Pendulum, most likely due to Odd Eyes now being a Pendulum Monster instead of an Effect Tribute monster like it was in the past. There was no indication of any of the other characters in the other Dimensions having their memories altered and there was still destruction from both the Dimensional War and the Zarc battle left, so it wasn't exactly what happened the first time Zarc was defeated.

It also made me reevaluate Leo as a villain. For most of the series, I just assumed that he wanted to merge the dimensions for power or something like that. I thought that he worked well as a villain from the shadows. We don't really see him that often, but because of Academia's looming presence for most of the series and Reiji's motivation to stop Leo, he never feels forgotten. The fact that he brainwashed Academia to become his personal army still made him imposing as well. But finding out that his true motivation was to bring back Ray really changed my perspective on his character. It made him more complex than I expected. At the end of the day, he is a father grieving for his lost child, willing to do anything and everything to get her back. That motivation is understandable, if not sympathetic. It even makes sense why Leo is willing to do such terrible things because he doesn't see the other characters as real people, not even his own family. He knows that these Dimensions are not his Original World, so it's easy to write off all of these characters as expendable since they aren't real to him. Leo wanted his daughter and his world back by any means necessary. While the audience could understand his thought process, by this point we had seen characters from all four Dimensions. We had seen their different personalities, bonds and goals, so we couldn't just see them as expendable pawns for Leo's own objectives.

Even though his backstory makes Leo more sympathetic, I love that the show immediately calls him out through Reiji. Reiji pointing out that he is a threat to the peace of the four Dimensions and that he's a bigger threat than Zarc was incredibly satisfying. As understandable as his grief for Ray is, Leo did a lot of terrible things. Instead of honoring his daughter's sacrifice, he was actively trying to undo it, never even considering the consequences, all because he was blinded by his grief. Nothing and no one else mattered to Leo more than Ray, not even his new family. His actions caused a chain reaction that led to Zarc's revival. He wrote it off as it was fated to happen due to Zarc's will. While Zarc clearly wanted to be revived, without starting the Dimensional War and kidnapping the Bracelet Girls, I don't think the Dragon Boys would have been able to meet each other, let alone merge to form back into Zarc. He was too set on reviving Ray that he didn't factor that she'd need a host body like Zarc did.

While Leo may not have been punished enough for his action to satisfy fans, I don't think he was really rewarded with anything either. Ray was revived, but she never talked to Leo. She communicated with Reria about how she needed to be revived before Zarc to stop him, but that wasn't because she wanted to reunite with her father. By that point, nothing could stop Zarc's revival and Ray knew that she was the only one able to defeat him. Leo doesn't get any kind of reunion with Ray to deal with his grief and he still loses his daughter after the Zarc battle again anyway. Leo abandoned his family, turned Academia into his personal army, spent years planning an invasion on the Xyz Dimension, carded countless people in Heartland, kidnapped the Bracelet Girls, used the carded people as fuel for the Arc V reactor and attempted to force the four Dimensions back into one in the vain hope of getting both Ray and his Original World back. And he's rewarded with nothing. All his actions did is nearly cause another world destruction event. I think that combined with the fact that he's still left without Ray were the wake up call Leo needed. As much as I love Reiji calling Leo out during their duel, it wasn't going to change Leo's mind. He was so close to getting Ray back and he was well beyond the point of listening to reason, so he wouldn't really believe Reiji was in the right. I think that seeing that Zarc was so close to destroying the world and that the cycle nearly started over again were what finally made Leo reflect on his actions and behavior.

I don't think he was forgiven so much as he saw the error of his ways if that makes sense. I don't think that the rest of the cast would now be perfectly okay with Leo. Sora and Asuaka were at Academia as he was working on the Arc V reactor with Ray still inside it, but I saw it more like they wanted to save Yuzu as opposed to trusting the Professor now that the Dimensional War was over. As satisfying as it would have been to see Shun punch him, the fact that he didn't do it was more because he realized it would be pointless way of dealing with his anger as opposed to forgiving the man who destroyed his home. He is with his family during the finale as Yuzu is revived, but I never saw that as an indication that he'd be welcomed back with open arms. Reiji may not have the same anger towards his father, as indicated by how he helped saved Leo after he was defeated by Zarc, but I don't see that as necessarily the same thing as being forgiven. I think dealing with a loved one who has done terrible or unforgivable things is a bit more complicated than that since there can be a lot of conflicted feelings involved. I think that there are more layers to forgiveness and redemption than fans in general tend to acknowledge. Leo recognized that his actions were wrong, but I don't think he's rewarded with the family he abandoned just because they're standing together in the finale. I prefer the head canon that he remains in Fusion, trying to undo the damage he caused to Academia somehow, and Reiji accepts that. He'll still keep an eye on Leo to make sure he doesn't cause anymore damage, but after how the Dimensional War turned out for him, Leo wouldn't be using Academia for another invasion. Leo being left with basically nothing after all of the damage and pain he caused is probably one of the most fitting punishments he could have gotten too.

[wincestation]

Wincest in the Pilot (aka my final paper)

2k of academic rambling. I got plenty of help and inspiration from this post and this blog review. Also huge thanks to @s2e11playthings for helping me find the latter. It is me! Essay-anon came out of the shadows!

The first interaction between the two brothers as adults occurs when Dean sneaks into Sam's apartment in the middle of the night. Sam fights the intruder before the latter pins him to the floor, making him realize it's his brother. The first words Dean tells him after not seeing him for two years are, "Easy, tiger." Dean's hand grabs Sam's neck and he smiles broadly at his little brother. As stated in the subsequent dialogue, the reason Dean appears this way is because he knows Sam would not have answered the phone if he had called. Why? the only reason Dean would call (which is also the reason he showed up) is that something happened to their father. Sam knows this, and maybe he didn't care if something really did happen to John. But what if John was the one who called? Maybe then Sam would answer, because he knows that this phone call has a different meaning: something happened to Dean.

Sam and Dean step outside to talk. Sam initially refuses to come with his brother, saying he is done with hunting, with the life that Dean and their father lead. Dean mocks Sam's aspiration for a normal life, perhaps as part of an attempt to persuade Sam to come with him, and return to the life they always shared together. After an argument between the two, involving emotional manipulations on both sides ("It wasn't easy, but it wasn't so bad", Dean dismisses Sam's words; "Do you think Mom would've wanted this for us?" Sam touches on a sensitive point), Dean understands that his brother is not about to give up, and finally reveals the real reason for his arrival:

Dean: I can't do this alone.

Sam: Yes, you can.

Dean: Well, I don't want to.

Dean completely contradicts everything he had said up to this point. In this sentence he expresses an emotional need for Sam, not a practical need. He could have sought out their father alone but chose not to; Maybe he saw the danger to his father's life as a good enough reason for Sam to come back to their lives again. Sam can not remain indifferent to this emotional vulnerability, and agrees to come with him - not because he cares what happens to their father, but because he too, like Dean, needs his brother and does not want to say goodbye to him again.

Sam agrees on one condition: he has an interview on Monday and he must get back on time. Dean agrees. Sam could have offered Dean to sleep on the couch and drive in the morning, or even go after the interview. But he does none of these things, and travels with him at that moment, in the middle of the night, without providing explanations to his girlfriend and without even kissing her goodbye. "At least tell me where you're going?" She calls after him as he leaves, with no answer. This urgency can be interpreted as a concern for the safety of Winchester Sr. but given the relationship between him and Sam, this is probably not the case. Why then is Sam in such a hurry to abandon the life he, allegedly, wants so much? In light of the dialogue between the two brothers the answer seems simple. He missed his brother, and now that he knows this feeling is mutual, he feels he has a good enough reason to leave the "normal" life behind - even if only for one weekend. This confirmation is the real reason he's arguing with his brother. The dialogue between them, according to this interpretation, is full of subtext:

Dean: I will not go until you come with me, or kick me out of your life forever.

Sam: If you want me to come, you need to tell me what I need to hear.

Dean: Don't make me say it out loud.

The two set out to find their father. After research, Sam and Dean discover that the monster of the week is a "woman in white" - a ghost that kills unfaithful men. Later in the episode, the ghost tries to attack Sam, who tells her she can't hurt him, because "I'm not unfaithful, I never was." She replies, "You will be." The hegemonic interpretation, presumably meant by the creators of the series, is that Sam is about to cheat on Jessica with the murderous ghost (with or without his consent). But Sam being targeted can be interpreted in another way. Is he going to betray his girlfriend by wanting to return to the life he shared with Dean and their father? Or even, can it be said that he did not betray her, but his brother, by leaving the family and trying to live a "normal" life with a woman?

The scene on the bridge, in which another confrontation takes place between Sam and Dean, can also be interpreted in two ways. Sam says, half in mockery and half in pity, "Mom is dead, and nothing will bring her back." Dean, in a fit of rage, grabs his brother and slams him at one of the bridge poles. "Don't you dare talk about her like that." This is of course one meaning of things. Another meaning could be, "Dean, I moved on, and nothing will bring me back." To this Dean responds in the only way he knows, "don't you dare not give up on me like that." Throughout the episode, and in this scene in particular, Dean repeatedly mocks Sam's choice to leave college - "Do you really think you're going to become a lawyer? Marry your girl?" - And this ridicule can stem from jealousy over the seemingly perfect and normal life that Sam managed to achieve, but at its core is another jealousy: Sam chose this life over a life with him.

The series hit screens in 2005. About two months after the premiere of the first episode, a blog review titled "Supermatural is Supergay" was published. The author described the series as follows:

It’s like the Hardy Boys, only gayer. I love the awkward sexual tension between the brothers. […] So Dean is the super control freak “top”. He has to be driving at all times. […] Sam rides in the passenger seat. He’s the soft spoken bottom boy, always staring out the window in this deep, dreamy state of mind. No idea what the hell he’s thinking about, but I suspect he is wondering where this relationship is going, and if Dean will ever say “I love you”.

Wait a minute… don’t get me wrong, I’m not talking about incest here. See, that's the backstory. They are not really brothers. They are secret lovers, hiding their dirty affair. So they pretend to be brothers so nobody questions why they are together 24/7, why they share a bed. […] Throughout the episodes, they give each other hot glances. It’s never part of the dialogue, they just look like they will rip each other’s clothes off at any given moment. […]

UPDATE: On last Tuesday's episode, "Bugs", they were mistaken for a gay couple and then pretended to be a gay couple in the next scene. See, I told you they are gay guys pretending to be brothers. You heard it here first.

Although the writer was wrong in his assumption - Sam and Dean are indeed brothers - he makes a claim that will receive many reinforcements from the fans. There is a certain tension between the two characters, a codependence bordering on desperation that often later in the show will cause them to take extreme steps to keep each other safe. The brothers' love borders on obsession, which caused many fans to agree with the blogger's opinion - just a week after the first episode was aired, the first online community dedicated to the romantic relationship between the two brothers already opened (sn_slash, or Supernatural Slash, "for all your brotherly needs"). It is difficult to say whether the homoerotic clues came from the creators and were picked up by the audience, or whether the audience interpreted the show as he wished and the creators decided to satisfy their desires, but throughout the series there is recognition of the two's special relationship: In "Bugs" [1x08], everyone is convinced they are a couple and they continue the pretense; In later seasons, the brothers discover that books are being written about their lives, and that many fans of these books are convinced they are a couple (in "The Real Ghostbusters" [5x09] in the Supernatural convention, there is a panel called "The Homoerotic Undertones in Supernatural"); And many of the characters in the series, even those who know about the two being brothers, describe their relationship as one of codependence, blind and absolute love, for which they often sacrifice the entire world ("Sam and Dean Winchester are psychotically, irrationally, erotically codependent on each other", [5x19] "The point of no return").

Did the creators not understand that this is the message they are transmitting? It is hard to believe that they were unanimous on the subject, especially in light of all the reflexive references they themselves have planted in the show. If so, what could be their reason for engaging in a relationship that is fundamentally unnatural, perverse and forbidden, socially and often legally? This can be explained with the help of another issue - that of the exclusion of LGBTQ+ relationships from the public sphere and the lack of legitimacy for their visibility. Supernatural hit the screens in 2005, a time that may not seem so long ago, but its gay visibility is still lacking, and in which there was still no legitimacy to present a proud couple in popular culture. Maybe, as the blogger suggested in his review, the creators genuinely wanted to create a series that would center around love between two men, but felt that the world was not ready to see that content explicitly. After all, it was only a few decades ago that homosexuality was also perceived as unnatural, perverse and forbidden. Maybe acknowledging that, the creators chose to turn Sam and Dean into brothers, as if to reassure the conservatives: of course they are not just two men who are together at any given moment, staring at each other longingly and willing to sacrifice the whole world just so they won't be left without each other. That could be interpreted as homosexuality - and beyond the harsh criticism, such TV series simply wouldn't survive (or at least, that is how the creators may have felt at the time). And if some of the fans understood the true meaning in which the creators wanted engage, well, that was not in their hands.

To sum up, it is difficult to argue that this relationship is characterized as purely platonic. Even if the creators did not intend to create such an impression already in the first episode, they were aware of this impression and included explicit references to this unusual relationship. Although only an analysis of the first episode was conducted here, throughout the entire series there are unequivocal statements that support this assumption (some of which I mentioned above, but most of which have been omitted). And perhaps there is no need for many words beyond those uttered by the brothers themselves, for the first time in the pilot, and for the last time in the finale ("Carry on" [15x20]), before they said goodbye to each other for the last time: "I can't do this alone. I don't want to."

[kaizokuou-ni-naru]

The Voyage So Far: Water Seven

east blue (1 | 2) || alabasta (1 | 2) || skypiea || water 7 || enies lobby || thriller bark || paramount war (1 | 2) || fishman island || punk hazard || dressrosa (1 | 2) || whole cake island || wano (1 | 2)

i’ve mentioned several times before that the davy back fight is one of my least favorite arcs, mostly because i found it very dragging and tedious when i was reading it, but there are a couple things i really like in it, and, perhaps unsurprisingly, most of them have to do with zoro. i really like his moment here with chopper, and it also showcases his ability to act as more of an authority figure to the crew, which is something that makes a substantial return after enies lobby with the matter of usopp’s return. 

zoro and sanji’s match in the davy back fight is far and away my favorite part of the entire arc. it’s just really fun.

like i said, this arc isn’t a favorite of mine, but i do definitely understand why it’s important to the saga and greater story in a couple different ways. one of them is that it’s just an easy, lighthearted detour that both gives the audience a chance to breathe and the strawhats a chance to showcase just how much they love each other and work well together- which turns into a fucking sledgehammer to the skull in the next arc when that unity is directly threatened. and the other reason this arc is important...

...is because of aokiji.

aokiji’s introductory scene is a brutal showcase of absolute power, and a very clear reminder that the strawhats are still very much little fish in a very, very big pond. all of the strawhats are impacted by this to some degree- it’s how badly they get curb-stomped here that leads luffy to come up with his gears as a way of closing the huge power gap he’s just learned about.

most important, though, are robin and usopp. for robin, this is a stark reminder of the fact that the government will never stop hunting her down; for usopp, who’s less obvious, it’s the seeds of the full-blown inferiority crisis that will later explode with the news about merry. both of their arcs throughout water 7 and enies lobby, essentially the twin emotional backbones of the saga, start right here.

i really like that the other strawhats all fell asleep waiting for robin and luffy to wake up. it calls back to them doing the same when nami was sick before drum, and also it’s just so fucking sweet. 

water seven is my favorite island, full stop. if i was going to live anywhere in one piece’s world, i’d want to live on water seven. it’s just so creatively designed and visually great, with the canals and the tiered city and the massive fountain in the middle. the supporting cast are still one of my favorites, and the culture feels very real and authentic. i just love water seven a lot.

i just said it but it bears repeating- the water seven supporting cast is really good. iceburg, the galley-la shipwrights, franky and his family, kokoro and chimney are all really memorable, and most of them are really likable, too- and cp9, with all their eccentricities, fit in perfectly. water seven’s cast is very interconnected, as well, and their relationships all feel very believable.

all of which, of course, only makes the later treachery hurt all the more.

the atmosphere of water seven is really, really well done. the bad starts slow, with the news that merry is unfixable, and then continues into an accelerating downwards spiral of hopelessness: usopp and luffy’s fight and usopp leaving the crew, robin’s seeming betrayal, the assassination attempt on iceburg, the city and galley-la turning on them as a result, and the agua laguna- it just gets worse and worse and worse.

and then, after they’ve been stomped down about as far as they can go and come out alive anyways, they pick themselves back up again and go to save their friend, because that’s what the strawhat pirates do.

i just really like getting to see these four going feral on the franky family, it’s one of my favorite scenes in this whole arc. in general, i tend to love the moments where luffy specifically gets properly angry, and we get a lot of them in this arc. 

even though the fight between luffy and usopp is genuinely very tense and  fast-paced and would probably be exciting if it were any other two characters fighting, it never really feels anything other than melancholy. i think that’s a testament to just how good oda is at setting the mood of the scene. it’s made very clear, especially through the reactions of the other characters- merry ‘crying’ is fucking heartbreaking- that this is nothing less than a tragedy. 

:(

i think it’s kind of interesting we aren’t shown franky’s face until about halfway into water seven. prior to this, we’re given pretty much only reasons to hate him, with his theft of the strawhats’ money and the franky family beating usopp to shit. but just after this point is when we start getting our first humanizing and sympathetic moments for him, starting when he gets worried and a little frantic when he hears about the attempt on iceburg’s life.

i just really, really like the way some of these water seven action sequences are depicted. they feel very tense and desperate, which matches the general mood of this part of the arc perfectly.

this panel of usopp working on merry always reminds me of the shots of the klabautermann doing the same during skypiea. i’m not sure if it’s even intentional, honestly, but it’s an extra little bit of heartbreak either way.

one piece has a lot of amazing spreads, but this might be one of my favorites for sheer impact. cp9, watching as the city they’ve lived and worked in for years burns down in a fire they set, satisfied by a job well done. it’s almost all in black and white with very little grey, which creates some fantastic contrast, and their pitch-black silhouettes against the nighttime inferno are just striking. 

this entire scene between usopp and franky, as usopp works on the merry and franky gives him advice and tries to make him see its hopeless and they kind of awkwardly, accidentally bond, is probably my favorite in the whole of water seven. it was also the scene that singlehandedly made me love franky as a character.

they have a really good, really enjoyable dynamic, and at the same time the conflict between them is real and understandable, and brought about because they’re both trying to do the right thing.

tom���s workers are one of my favorite little groups of characters in the whole of one piece’s story, and they deserve more appreciation. they’re family!! a little family of broken pieces who worked together to build something really, really amazing. and they still care about each other in the present, even though they got shattered apart so badly and none of them ever really recovered. 

this is a tremendously under-appreciated chopper moment. not only did he carry two full-grown men out of a fire, he even managed to get zoro’s sword and iceburg’s hamster. extremely cool of him.

this is also the exact moment the strawhats’ collective luck begins to turn: chopper saves the day, and nami learns that robin did what she did to protect them, and sanji gets aboard the sea train, and from there it’s a no-brakes train from their very lowest low straight to the triumph at enies lobby.

i love all the shenanigans sanji gets up to with the sea train, i think the whole sequence is absolutely one of his shining moments. it’s always a delight to see sanji get up to Sneaky Bastard Bullshit, and the whole thing is just so fun, which is a dearly needed breath of fresh air after how relentless this arc has been until this point.

robin’s little smile when thinking of luffy and when she joined the strawhats... :( i’ve noticed it’s a recurring trend for strawhats who try to leave the crew to flash back to when they joined as they do. usopp has it earlier this same arc just before leaving, and sanji does it in whole cake island in the sanji vs. luffy chapter. 

i really like how much everyone comes together at the end of water seven leading into enies lobby. after how fractured and fraught things have been throughout the arc, both within and without the strawhat crew, it’s great to see them not only all united again for a common goal, but with a huge group of allies at their backs. 

these three are SUCH a hilarious team, and i would love to see them work together again like this sometime. they’re literally just clowning on the marines all the way up the train, it’s fantastic. 

factually i understand sanji’s aversion to fighting with his hands and his fighting style is very unique and cool and also meaningful to him because he learned from zeff, and also if i remember right it’s implied he learned how to swordfight from the vinsmokes which makes it very reasonable he would want absolutely nothing to do with that skillset 

but speaking purely in terms of stupid idiot lizard brain i think sanji should fight with knives more

this is another of my absolute favorite spreads, and i think what makes it for me is the casual confidence- luffy tells zoro to cut the train, and zoro does, both of them with no doubts at all about zoro’s ability to do so. it really goes to show how far they’ve come from back in east blue when zoro couldn’t even cut luffy out of a metal cage.

there’s something very impactful about the fact that of all the strawhats, robin gets this speech from usopp. usopp, who’s had the worst falling-out with luffy in the series to date, is the one who tells robin: you haven’t left the crew yet, you can’t leave the crew yet, luffy is coming to get you. believe in him. 

franky’s “existing is not a crime” line is one of the most memorable and iconic lines from this entire saga, and for good reason. it sums up one of the main themes of not just this arc but also the series as a whole- the very same idea will come up again for ace during marineford, and in law’s backstory as well. it’s never a crime to just exist, and people should not never be persecuted for their blood or heritage. one piece doesn’t fuck around with its theming, it really doesn’t. 

to be continued next time, with enies lobby!

[plotbnuy]

KarpReviews - The Hunger Games: The Ballad of Songbirds and Snakes

Back when The Hunger Games became a huge phenomenon, I have to admit that it didn’t quite grab me like it did for many. The original film came out on March 23rd, 2012, followed by Catching Fire late next year. These films started a trend of dystopian novel movie adaptations, with Divergent coming out on March 21st 2014, and Maze Runner coming out on September 19th that same year. By the time Mockingjay: Part One released on November 21′s, right after Maze Runner, I’d become a little burnt out on these tales of children fighting for survival against an oppressive system meant to keep society under control. Despite reading the first two books in the series, I didn’t return for Mockingjay. 

That is, until a few months ago.  I decided to give the books another try, and to my delight I grew to really love and appreciate them. Katniss is a wonderful protagonist, surrounded by a surprisingly colorful and interesting cast of characters (even though it still features the classic love triangle trope.) While the first two books were rereads, going in blind into Mockingjay was a treat, and I felt the series had a wonderfully satisfying ending. 

Imagine my delight, however, when I realized that there was a prequel to the series! The Ballad of Songbirds and Snakes features a much different entry in the story, taking place long before the events of the main series to highlight the tenth Hunger Games. In order to spice up what is comparatively an archaic and unpolished annual event, The Capitol has enlisted a large selection of students from an elite secondary school - simply referred to as “The Academy” - to mentor the children forced to fight in the arena! Who else should be chosen to be a mentor but a young Coriolanus Snow, hoping to become recognized and attain a university scholarship on his path to becoming President of Panem.

Yes, this entry puts us in the perspective of the infamous Coriolanus Snow, allowing us to see a little bit into what led to the events of the original Hunger Games novel. Not only does it flesh out Snow himself, but also how the titular event became the lavish, intricate, and audacious spectacle depicted during Katniss’s run in the arena. This allows this entry to differentiate itself immensely from the others, allowing it to feel fresh and new while it gives us a better look into the universe we’ve become a part of after three other novels and four films. With that being said, I want to dive deeper into what makes this particular entry so engaging. 

While other entries in the series have a bit of a fluid structure, our story this time is split into very neat thirds: The events leading up to the games, the games themselves, and the aftermath. This time, we get to see the perspective of the games from the capitol’s eyes, as opposed to the districts. However, while the event is massively celebrated, with banquets, parties, tours, and intricate broadcasts during the 74th and 75th Hunger Games, the 10th is much different. It’s much bleaker and more depressing, as tributes are treated like livestock, with no access to good food or proper shelter. Many citizens, District or Capitol, would rather ignore the barbaric event, only bothering to attend The Reaping before returning to daily life. There’s no reward for victory, beyond the singular tribute avoiding death, only to return to the poverty-stricken districts. Tributes die before even entering the arena, leading the games themselves to be swift and merciless. 

Ultimately, this raw and bleak depiction of the games, combined with Capitol citizens not yet disillusioned by the grandeur of future games, still recovering from the war, is a perfect choice for this Capitol-centric prequel. It keeps the citizens of The Capitol that we spend most of our time with from being completely unsympathetic, and it allows for a much more engaging story. Even before the games themselves, many things happen that impact the story, allowing for a lot of tension as things lead up to the main event. 

Speaking of the Hunger Games, this is the first time we get to enjoy them from outside of the arena itself. As the story follows our mentors, we get to watch from their perspective as spectators as the games commence in the arena. This event also happens to be the first where sponsors are allowed to affect the games, sending gifts for the tributes to possibly keep them alive. Since the mentors themselves have agency over the games, they never feel boring as you hope for the survival of our main character’s tribute. The aftermath of the games left me absolutely shocked, leading into a finale that felt unlike anything the series has had to offer before.

Even though Coriolanus Snow is designated as our main character, this story is truly given life by the people who surround him. Closest to him is Sejanus Plinth, a childhood friend who joins Snow in the tribute mentorship program as his classmate. At first, Sejanus is telegraphed as an old rival and a clear foil to Snow, and you suspect he’ll be something of an antagonist given the disdain Coriolanus seems to have for him. However, I was pleasantly surprised as the story paints a much more intricate picture of our main character’s best friend. Their relationship is one of the many highlights of this story, as even when Snow tries to distance himself, or otherwise shows dislike for Sejanus, their paths become forcibly intertwined, and it becomes unclear whether they will become bitter rivals or loyal comrades.

The real star of the show for me is Coriolanus’s tribute, a District 12 girl named Lucy Grey Baird. A member of the Covey, she’s a performer and singer who prides herself in her skill for entertainment. With both Panem and the reader as her audience, her personality and charm is utterly captivating, with an even sharper wit than Katniss. Despite the circumstances, she becomes fond of Coriolanus early on, a fact attributed to Snow being one of the few mentors that goes out of his way to forge a bond with his tribute. She leaves an impression from her very first scene, and every moment with her going forward is captivating and wonderful. Truly, if I had to give a single reason to read this book, it would be for Lucy Grey specifically. Even though her situation seems completely impossible, you can’t help but hope for her victory in the games. 

Of course, there’s always room for a good antagonist, even in a story starring Coriolanus Snow. Casca Highbottom, dean of The Academy, is one of the main obstacles making Snow’s future so uneasy. The story says little about him at first, only that he isn’t Coriolanus’s biggest fan, and that he created the Hunger Games themselves. He’s hard to read as a threat, given his addiction to painkillers and somewhat contradictory dialogue. Truthfully, he’s not much of a villain. 

Enter Doctor Volumnia Gaul.  Serving as the head Gamemaker, as well as an instructor at the Capitol University, she spends a large amount of time with both Coriolanus and the other mentors. Specializing in the “muttations” that her labs create for the Capitol, she serves as something of a mentor herself for Snow, challenging his morals and shaping his ideals. She starts off as seeming like an ally, only for her to show just how dangerous she is. She has a blatant disregard for life itself, only just barely being grounded enough to not be entirely absurd. Her presence gives the story a lot of much-needed tension, and I found her to be absolutely riveting. 

What impresses me the most about Songbirds and Snakes is how it expertly avoids delivering what could have easily come off as a tragic backstory intended to garner sympathy for Panem’s ruthless dictator. Instead, it cleverly highlights Coriolanus’s personality, nature, aspirations, and faults, adding to his character without ever trying to suggest that he’s misunderstood or redeemable. His downfall, while accelerated by his environment, can be attributed entirely to the choices he makes himself. Even when surrounded by good people who genuinely love and care for him, miles away from the capitol, he makes the choice to become who he is: a vile, treacherous, untrusting snake. Yet, despite knowing his fate, there was a part of me that hoped he would make the right choice anyway, making the end of his arc even more effective. 

Suzanne Collins is a truly talented writer. Not only is the original trilogy a fantastic read, but she managed to craft a prequel that both builds the lore of the series and has a major impact on the story as a whole. The connecting tissue between this prequel and the rest of the series is solid, not only fleshing out the world explicitly, but leaving breadcrumbs for attentive fans to enjoy. Upon reading the final chapters, there was a particular scene I couldn’t get out of my head. It wasn’t one within the book itself, but one that harkened forward to Mockingjay. I can picture Coriolanus Snow, eyes focused on the television as the rebels broadcast another one of Katniss’s propaganda videos. He can tell she’s in District 12, walking amongst the rubble of the decimated mining town. He thinks to turn away from the image of the collapsed Justice building and broken town square... until he hears Katniss begin to sing. His blood runs ice cold, every hair on his body stands on end, and in a hoarse, mangled voice, he begins to wail. Every one of his past sins comes rushing back as Katniss Everdeen unwittingly deals the most devastating blow she could ever give to Coriolanus Snow. It’s a scene that remains completely theoretical, and yet it’s perhaps one of the most powerful images in the entire Hunger Games saga. If you’ve enjoyed the rest of the series, then I urge you to read The Ballad of Songbirds and Snakes.

[sw-daydreamer]

‘Star Wars’ Screenwriter Chris Terrio on Ending the 42-year ‘Skywalker’ Saga

The Oscar-winning screenwriter talks about collaborating with J.J. Abrams on the script, respecting the memory of Carrie Fisher, and ending the Skywalkers.

(...)

They had no illusions, though, that they would be able to satisfy everyone.

“We knew at the beginning that there was no world in which everyone was going to say that was exactly what I wanted,” Terrio explained. “But I hope at the very least our love for the characters and for the galaxy comes through in some way.”

Critics and audiences alike seem torn on the concluding film to the Star Wars world as we know it. It posted $177 million in its opening weekend, but that was down significantly from the previous outing, The Last Jedi. Additionally, The Rise of Skywalker is the only film in the new trilogy to not receive an “A” Cinemascore rating, indicating the perhaps inevitable mixed reactions from fans.

(...)

During the course of our near hour-long interview, he dropped a lot of plot spoilers (avoided here) and detail about additional footage not included in the finished product (also avoided here) that seemingly speaks to many of the internet-based criticisms.

(...)

AD: When you two were working together, you obviously had this shared appreciation for the Star Wars universe. When you starting working on the final script, were you responding to a pre-defined structure  or were you creating something unique between the two of you?

CT: Both actually. Kathy Kennedy and Michelle Rejwan had a clear plan for where they wanted things to end. They had clear plans about certain narrative marks they wanted us to hit. They also gave us a lot of freedom within that. We knew that Rey and Ren were utterly key to this trilogy, but we also felt that there was no way that we were going to not find a path to redemption for Kylo Ren, the son of Han and Leia. We felt that right from the beginning, when J.J. established Kylo Ren in Episode VII, there was a war going on inside him and that he had been corrupted by something bigger than himself and had made bad choices along the way. J.J. and I felt we needed to find a way in which he could be redeemed, and that gets tricky at the end of Episode VIII because Snoke is gone. The biggest bad guy in the galaxy at that moment seemingly is Kylo Ren. There needed to be an antagonist that the good guys could be fighting, and that’s when we really tried to laser in on who had been the great source of evil behind all of this for so long. That’s when we really started aggressively pursuing this idea that there is old evil that didn’t die. The source of the evil in the galaxy is this dark spirit waiting for its revenge and biding its time. The entity known as Palpatine in this version – his body died in Return of the Jedi – is patient and has been waiting. He dug his fox hole and has been waiting for his chance to re-establish his total domination.

AD: Was returning to this entity known as Palpatine always in the plan or was it newly introduced in Episode IX?

CT: Well, I can’t speak to Kathy’s overall intent. That was certainly discussed and was discussed before I ever came on. Kathy had this overall vision that we had to be telling the same story for nine episodes. Although from the sleight of hand of Episode VII and Episode VIII, you wouldn’t necessarily know immediately that we were telling the same story. She thought it would be a very strong end for the ninth movie. This fits well with J.J. because he loves magic tricks. He will often talk in metaphors and magic tricks, and so in Episode VII and Episode VIII, you think you’re watching one thing but Episode IX tells you to watch more closely – you were actually watching something else. When you rewatch the earlier films, things start to make additional sense. Ren and his devotion to the idea of his grandfather. The voice that he’s always heard in his head. The certain similarities between Snoke and Palpatine. The intention was that, by the time you get to Episode IX, you realize there were real reasons this is all happening. It all shows how this story is being fought cyclically through the series.

AD: One thing that’s fairly pervasive right now is the buzz around Kelly Marie Tran’s reduced role in The Rise of Skywalker when compared to The Last Jedi. Tell me about working through her role in the final film.

CT: Well, first of all, J.J. and I adore Kelly Marie Tran. One of the reasons that Rose has a few less scenes than we would like her to have has to do with the difficulty of using Carrie’s footage in the way we wanted to. We wanted Rose to be the anchor at the rebel base who was with Leia. We thought we couldn’t leave Leia at the base without any of the principals who we love, so Leia and Rose were working together. As the process evolved, a few scenes we’d written with Rose and Leia turned out to not meet the standard of photorealism that we’d hoped for. Those scenes unfortunately fell out of the film. The last thing we were doing was deliberately trying to sideline Rose. We adore the character, and we adore Kelly – so much so that we anchored her with our favorite person in this galaxy, General Leia.

AD: Given the sheer volume of exposition required and number of characters you did have to balance, was there ever talk around expanding Episode IX into a “Part 1” and a “Part 2?”

CT: I wish we could have done that. There is a lot of plot in the movie, and as a writer, you always want scenes to let the plot breathe more. If there were a way of doing it, splitting it would have been my dream. We could have written these characters forever. There was so much backstory that had to be left by the wayside. I wish that we could have that, but George always said it was nine movies. That was the natural size of the saga, and so, other than a few initial discussions, we never really advanced that conversation. Of course, as a writer, it breaks your heart to leave stuff on the table that you think would have given the story more depth and nuance and to give the characters more to do. Speaking for myself and not on the part of the studio, I do wish there could have been a “Part 1” and a “Part 2.”

AD: Trying to avoid spoilers here, but leading into the final film, the word was that this would be the final chapter on the Skywalker saga. Yet, there’s a persistence still in the name Skywalker at the end of the film. Is this really the end?

CT: I don’t have any additional insight into that than you do, honest to God. For us, the resonance of the name Skywalker was just purely a thematic one. It wasn’t an attempt to brand something in the universe. J.J. and I had a post-it that read, “You don’t discover who you are. You create it.” So much of this film is about discovery and creating who you are through that discovery. It’s purely for thematic reasons that we included who is a Skywalker at the end of the film. [Editor note: We omitted a great deal of conversation around spoilers related to the end of the film for this answer. This printed response provides the overall sense of his answer while avoiding explicit spoilers.]

(...)

source : www.awardsdaily.com/2019/12/24/star-wars-screenwriter-chris-terrio-on-ending-the-42-year-skywalker-saga/

[liathgray]

Anyways, here’s that essay

Please keep in kind this was not written to be consumed by people familiar with the source material, it was for a class. It’s focused on weird stuff and was meant to compare and contrast the Judas Contact storyline and season two of Titans.

Okay, here we go.

In 1984, a four-part story was published as an arc in Tales of the Teen Titans titled as The Judas Contract. Since, it has become one of the most influential and well-known stories to come out of the DC publishing company for its bold story choices and permanently changing characters who had been around for decades, as well as introducing death as something that can occur in the present, not just in the mechanics of a backstory. It garnered four separate adaptations, the most recent of which being the second season of Titans, a loose live-action version of the titular team. Between the two, there are many small plot and character details that do not line up, so for the sake of simplicity, pedantic plot elements will be removed from the comparison, instead focusing on individual motivation, the importance of the setting, and how characters are impacted and changed by the actions in the narrative.

The Judas Contract proper follows a team of pre-established young heroes being unknowingly spied on by their newest superpowered member, Tara Markov. She works alongside Slade Wilson, a mercenary and personal rogue of the Teen Titans, feeding him important information in order to fulfill his contract to kidnap them, hence the title of the arc; there is a Judas among them. The contract is almost completed until Slade’s son, Joey, enters the picture, determined to prevent any more death at hands of his father, emotionally conflicting Slade enough for Tara to feel betrayed and collapse the cavern they had been in, killing herself in the process. In the end, it is her story alongside the former Robin, Dick Grayson, who is inspired to take up a new vigilante identity as a result. Titans, has the same basic idea of there being a mole in the group and the evolution of Dick from Robin to Nightwing, but the surrounding plot and progression are entirely different. The Titans had existed previously, but broke up due to a series of events involving Slade, starting with the murder of a teammate, and ending in the death of Joey. There’s much grief and trauma surrounding this, so when years later Dick decides to reopen the team’s old headquarters to house and train new young heroes he stumbled across, his old friends are a mix of angry, re-traumatized, and reluctant, especially with the re-emergence of their aforementioned enemy. In the place of Tara, there is Rose. Daughter of Slade and, again, the spy on the team who, unlike Tara, has a change of heart and reveals her betrayal in an attempt to warn her newfound friends.

The most striking element of both is the use of character, and in what direction the agents go in, especially in light of the overarching themes that they share; that of redemption, recovery, guilt, and betrayal. In the comic, the focal point for all of this is Tara. She is continually treated well by her teammates whom remain compassionate to her, despite her brashness and tendency to get violent. They know little of her, yet still welcome her into their home and personal lives. It is revealed to the audience early on that Tara is working for Slade, which makes each interaction she has with those she is deceiving all the more upsetting, even distressing to watch. Tara’s particular flavor of trauma deals with abandonment, something she acquired after being forced out of her home country, which later developed into malignant narcissism. She becomes very attached to the idea of being in a position of power and finds comfort in the presence of Slade, as he was the first person to justify her being alive. Tara, in the end, fails to redeem herself, instead the illusion she had built of stability and power came crumbling down after she spends ally after ally until there is no one, and she has no power left. Though it’s somewhat cynical, the idea here is that these cycles of betrayal and neglect cannot always be broken, that’s the point of this character; sometimes people are just too dysfunctional and if they are not willing to put in the work to get better and heal, they just won’t.

Rose, Tara’s counterpart, goes through a very different metamorphosis, despite the setup being similar. Her initial motivation was revenge for the brother she never knew, having been told it was the Titans who killed him when in fact it had been Slade, though it wasn’t intentional. Slade, however, blamed the Titans, specifically Dick, thus Rose believed him and was willing to participate as a double agent. When she encounters them for the first time, she is met with sympathy and understanding, people who didn’t value her as a weapon, creating incongruity with the story she was fed of elite fighters and master manipulators. Upon learning the truth about the circumstances under which her brother died, and who exactly killed him, she backs out. Rose realized she was lied to and manipulated, almost immediately grasping the gravity of the situation and seeing how hard she was pushing people whose greatest crime was daring to care about the very person she thought she was avenging. Later, she tells her newly acquired love interest the truth, following it up by saying, “I’d take it all back if I could. But I can’t.” (Zhang). Where Tara failed, Rose succeeded; she got rid of the poison in her life and recognized that she was the bad guy, alongside seeing the humanity of those she attempted to sabotage.

The theme of redemption and recovery doesn’t stop with Rose. It is furthered by all the other existing characters, young and old. On the basis of new beginnings for the second generation, and moving past the collective trauma and fear associated with teamwork for the first. More so than anyone else, this idea is present in the journey of Dick Grayson. In the original story, he is motivated to save his friends from an ugly fate while in the throes of a very real identity crisis involving the title of Robin, which he had recently discarded, believing that it was time for him to grow past the role and create a legacy entirely his own. Which he does do; he rebrands himself as Nightwing, rising to the occasion and overcoming the difficulties of abandoning a role that represented his culminative childhood and heritage to do save the people he loves. It is very much about the conquering of his external obstacles.

This is not the case in Titans, it is largely about his spectacular fall from grace and the struggle of building himself back up from rock bottom. He had kept a secret from all his closest friends about the death of Joey; he told them Joey was murdered before he found him, when in fact, he wasn’t. Joey died trying to protect Dick from Slade, and Dick felt so much guilt and shame in having been partially responsible that he lied about it for years. When his teammates find out, his worst nightmare comes true: they leave him. He is with next to no support, devoid of the family he fought tooth and nail to keep together, and is left in the tomb of his last chance to remain stable. While Rose and Tara had to redeem themselves to other people, Dick’s story is a redemption to himself, not anyone else. He stops doing things for other people and imagines himself of deserving the loneliness of, in essence, being re-orphaned. In a desperate attempt to find forgiveness, he seeks out Slade who, instead of offering the sought after peace of mind, says, “I sentence you to live alone (…) Forever knowing that your Titans family lives and breathes somewhere out there in the world, but you can never be with them.” (Morales). His lowest point is monumentally more devastating than his comic counterpart; he isolates himself entirely, going as far as to get himself jailed to carry out the self-imposed punishment, expecting to be abused and killed alone in a prison, the prospect of death barely startling him. In moments like this, the tragedy of the character hurts so much more because the audience knows that if he gets knocked down, he may not get back up, he has every reason not to. Which is why it is so earnest and exhilarating when he does. Dick was broken down to his factory parts, every mistake and bad trait not only was put on display, but magnified. He was made to confront those things before being able to piece himself back together, only then could he take on a new identity as Nightwing. Seeing him fall again is tangibly damaging to the character, so seeing him climb his way back up, scratching, clawing, slipping up, and struggling all the way, it’s all the more satisfying when he reaches the top.

A large part of this fall and rise, or in the case of The Judas Contract, the lack off a fall, is to do with the setting. The comic has all their main characters living in relative harmony or with their own spaces. When they are not off stopping cults from destroying political landscapes or battling supervillains, they are at home, going about their daily lives as somewhat normal people with jobs and relationships. It exemplifies that they all have a decent grasp on who they are, and even if they don’t, they have a bed to go back to and a support system to rely on. This is an established team with a running headquarters, lovingly named Titans Tower, the scene is only a part of the narrative as the backdrop, as a story punching bag that ultimately doesn’t matter, and that is all it needs to be. The story is much more interested in the series of events taking place, otherwise known as the act. Everything that goes down becomes a spoiler because there are so many plot points to cover and twists to reveal, thus the scene becomes story fuel, which in turn fuels the act, fueling the actors. There is less of a fall because they all have a home to turn to; it is built around the idea that the primary agents are at least somewhat realized people, with lives of their own. They react to the world around them as it throws obstacles, and the idea is re-enforced by the irrelevance of where the action takes place, wholly opposing the priorities of its live-action adaptation.

Not to say that Titans doesn’t jump from place to place, in fact it shifts its characters around quite a lot, but those moves are reactions to and influenced by the primary setting. The Titans operate out of, again, Titans Tower, but instead of a home and safe place, it is a monument to their old team’s sins. A ghost town that continues to haunt them, bringing back their darkest times and motivating nearly every move they make. When they first arrive, it’s tense, they’re subconsciously expecting the worst and prepare to bail at the first signs of trouble, which they eventually do. It is their return that sparks the entire story moving forward, and the presence of a looming shadow built from mistakes colours their reactions and triggers a sort of trauma response. Conversely, it is a beacon of hope and rebirth for the younger members. It is the first place wherein they have been allowed to be themselves, even at their worst, then collectively learn to get better as a group, a family even. The motif of past and present, trauma and recovery, informs the presentation of Titans Tower, making the growth visible in ways it previously hadn’t been. Using the setting as story plays into how Titans is structured; it drip-feeds the audience information, allowing the plot to meander so each development can happen and be processed before the next major plot point kicks in, and if they lose the setting, their home, there’s nothing else, thus the consequences are much steeper.

Throughout its two seasons run, Titans has been unapologetically divisive; deeply flawed characters with a universe quite different from that of the comics. It was not designed to make audiences comfortable, often forcing them to look at the worst parts of characters they might have previously idolized and showing the amount of hard work that has to be put into self-betterment. It is highly character-driven, mostly following interpersonal relationships and intimate growth. Barely anyone feels self-assured, often scrambling for any sense of identity. Though everyone goes through their fair share of change, this is ultimately Dick’s redemption story to himself. It departs from the source material, which often showed readers the best parts of people, that the downfall of heroes comes from outside sources while overall making a cynical statement about the cycle of abuse regarding Tara. These are heroes who know who they are and have no problem in the actions they make, whereas in the adaptation, almost every conflict is generated internally by lies and secrecy. The adaptation removes the halo from these supposed heroes and allows the emotions to be a bit dirty and muddled, creating an equally satisfying but very different take on a classic comic story.

[ayankun]

yalright let’s do this

AGENTS OF SHIELD SEASON ONE REWATCH COMPLETE BREAKDOWN MEGAPOST

hella spoilers for the entire canon up through season 5, but not 6 because I only saw it the once and am having a hard time remembering ANYthing about it.

I cannot determine specifically what it was about this season that caused to be branded “literal garbage” in my mind-hole for seven years.

Best guesses:

there’s some cheesy stuff that probably didn’t sit well with me at the time, and, at the time, there was no way of knowing that that kind of stuff was going to be ultimately eradicated

there’s some good stuff, like character stuff and plot stuff, but it didn’t successfully implant positive emotional responses in my brain-hole, leading me to be frustrated/offended at its own self-importance

there’s some stuff that just Doesn’t Work.  I won’t call anybody out, but there are some main side characters whose casting, in my opinion, leaves much to be desired.  when it comes to acting ability, I feel that it’s important to have the ranges of your entire cast match each other.  if you’re gonna hire B-listers, at least make sure they’re ALL B-listers.  if you’re gonna splurge and get some S-tier talent, pleeeeease don’t embarrass the B-listers by thinking you’re doing them a favor by including them on your project.  Understood, this opinion is highly subjective and I can’t expect everyone in front or behind the screen to buy into it, but it’s definitely a pet peeve of mine that causes strong reactions in me*

some of the plots are tired and/or straight up boring.  I got through them easily this time through because I was able to focus on the things I like, which is largely character interactions and re-learning the backstory for stuff that I know will continue to be important later on.  imagine listening to your grandpa’s stories about his life, but instead of telling you the cool stories about going to the moon or whatever, he’s telling you in great detail about the time he got his shoelaces stuck on like, a rusty nail sticking out of a fence.  It’s not a great story but it does explain why his mom only bought him velcro shoes after that and one time when they were trying on shoes in the store a couple of years later, some other kid started making fun of him for having velcro shoes and long story short your grandpa’s relationship with that kid is what got him interested in astrophysics and also he married that kid twenty-five years later -- but right now the story is specifically about spending forty minutes trying not to get tetanus.

Now that I’m older and wiser, what really surprised me throughout, though, was that not only was I not having any type of reaction that validated my “literal garbage” classification, I was noticing that there was A Lot of stuff that ticked a lot of boxes.

I’m talking technical stuff, the textbook basic filmmaking stuff, the stuff that I subjectively find objectively “Good” because it means that creative decisions were made with intent and were also executed proficiently enough to make that intent clear.

I’m talking SYMMETRICAL NARRATIVE which has to be one of my all-time favorite techniques, one that I personally use a lot, and I’m very biased in responding favorably when I see it, so I think ultimately this is a huge reason why this season cannot be classified as garbage this time around.  Because it shows that they cared!  It shows that they had A Plan!  It’s an emotionally satisfying technique that can be used to great effect when tipping the audience off to how far we’ve come from where we started.  It creates this nice tidy structural loop which I find very appealing.

Just real quick, you see this in individual episodes or even scenes, too.  Here’s a classic A+ example from episode 2:

Simmons has given Skye a bottle of water as a gag because that’s what happens on planes, and that bit is a set up to this bit, where Coulson is talking about how he rebuilt the Bus from the “studs up” and it demands to be treated with kid gloves; ergo:

Only to have the thing completely wrecked over the course of the episode.  In the denouement, “just starting to warm up to this place,” Coulson says ruefully, righting a broken glass as if that will put the plane back together; Skye immediately tosses a coaster down and moves the glass on top of it.

As a callback, it juxtaposes the starting-state and ending-state in your mind and highlights the contrast between the two.  And it’s also a nice character-building beat where you, the audience, get to observe Skye’s character in that she remembers a trivial detail that happened to be important to Coulson.  You also get to see Coulson observing the same, and you understand a little bit more about both of them.  *chef’s kiss*

So this is a pretty powerful and common technique, and I guess you could say that any well-resolved narrative is by definition going to recall you to the specifics of how it started.  Like ep 1 we start with Mike and Ace, their call and response “what are we/we’re a team,” and an understanding of Mike’s desire to be his kid’s guardian and hero and his desperate search for the tools that will allow him to become that.  In the finale, we see the pay off where Ace (via Skye) reminds Mike of this motivation, and Mike is finally in the position to protect his kid by taking out the Big Bad.

But I don’t want to go through the list to demonstrate that everyone’s character arcs likewise left them in a thematically resolved position relative to where they started.  Obviously this is an expectation of all (well structured) narratives. 

(And I don’t really mean to talk about callbacks themselves, such as Fitz’s obsession with monkeys or May’s repeated demand of “don’t call me that.”)

Stuff that only comes up at the beginning and the end.  Here’s the kind of symmetry that I mean:

Skye’s use of GPS encryption and the location of the diner where she first meets Mike.  Both topics come up in ep 1, and are revisited in ep 20 when she’s stalling for time against Ward and brings him to the diner by telling him that it’s the GPS coordinates necessary for decrypting the drive.  It says, last time you were here, Skye, you were living out of a van and fangirling over people with superpowers; now you’re an official agent of SHIELD (fun while it lasted, anyway) and you’re currently doublecrossing your own doublecrosser who was directly responsible for transforming you into the competent spy you are today.

Same thing: the only time we see Lola fly is at the end of ep 1, when Coulson and Skye are heading back to the Bus, and in ep 20 when Coulson rescues Skye from off the Bus.

Ep 2: 0-8-4.  We’re introduced to the very first object with the titular designation, and Simmons idly wonders “imagine what it would do to a person.”  Ep 22, it’s used to evaporate Garrett.  Same ep, we also meet the little, what even is it, that dendrotoxin EMP (??? I don’t recall whether the gadget is named) that Ward uses, and Coulson uses it in ep 17 to incapacitate Garrett.

Similarly, all the cool alien gadgets we spent the first few episodes gathering and locking up, including that first 0-8-4, are all broken out into the wrong hands in ep 18.

Also in ep 2 we are introduced to the idea of being thrown out of the airplane and Skye & co specifically prevent Ward from being sucked out.  We’re introduced to the concept of Coulson’s cellist!  Fury also makes a cameo (”talkin to me about authority”) ! 

It’s a little later on, but ep 6 has Simmons jumping out the plane, and Ward proving his Good Teammate status by jumping out after her (while Fitz is struggling on his way to do the same).  Ep 21, Ward boots FitzSimmons out the plane, and in ep 22 Fitz finally has the chance to properly save Simmons himself.

Ep 19 Coulson has a chance to save his cellist (again)

Ep 22, Fury comes back all Deus ex Machina and relinquishes authority of SHIELD directly to Coulson.

There’s also some dialogue recycled on purpose to make a point, like Fitz-Simmons introductory scene is recreated almost verbatim in ep 21:

Ep 2, talking to Skye about his mission vs ep 18 talking to Raina about his mission

(gotta admit, the man took this role seriously.  check out that cheekbone game he achieved in such a short time)

And again, Ep 1 Ward vs Ep 18 Ward.  They even framed it the same!!

All this to say, Season 1 is Structurally Sound and it has my blessing.

Now let’s move on to the list of things I liked that surprised me:

It’s pretty well polished, visually.  Joss Whedon’s veteran control of the director’s chair is readily apparent in the pilot, setting the visual tone for the series.  There are some made-for-tv shots over the course of the season, sure, and the least impressive compositions tend to involve CGI backdrops, but they do make the most of their interior sets and work hard to dress up various LA locations to, er, inspire the idea of the international scope of the show.  In my last update, I talked about ep 8 The Well in the context of Quality Directing, so it definitely goes above and beyond the basic shot-reverse shot when it wants to.

Ward.  Just for the record, I think Brett Dalton is great at his job and really brought exactly what they wanted to this character.  Eps 1 and 2 are a little shaky and stiff, but everyone’s performances are, as they let these characters coalesce around them.  I remember not liking Ward when I was watching this live, and honestly I think this was intentional.  He’s that character that you expect that you’re expected to like, you know, the traditional cocky savior type that lots of those fancy heroes are.  But because he’s so tropey in his characterization, you’re just ... over it?  And then when they flip the script and you’re supposed to hate him -- WOW.  It’s like two Christmases at once.  They took something you were already doing and rewarded you for it.

I’m not unaware of the “redeem grant ward” phenomenon.  I’m aware that the character had fans who were honestly drawn to and appreciative of the character before that persona was revealed to be a lie.

And honestly, it’s not that I like OR dislike Ward at all.  As a person.  It’s annoying that he’s a cocky bad-boy.  But it’s sweet when he plays nice with Simmons.  It’s embarrassing that he and May have “a thing.”  But it’s cathartic when he opens up to Skye about his past.  And Then, the sequence where we know he’s Hydra but Skye doesn’t.  And Then, the sequence where Skye knows he’s Hydra but he doesn’t.  And Then, his weird yucky confusion where he still wants to pursue something with Skye or doesn’t want to put down puppy-dog-eyed Fitz.

As a character, Ward is a great character.  His set up is so bland that the twist does appear to come out of nowhere, but on a rewatch all the groundwork is there.  His characterization as a baddie is enthralling.  I’m forecasting into season 2 a bit, but you want to follow his nefarious exploits just as much as you want to see his ex-friends smash his face in.  Brett Dalton played it right, A+ good job.  It makes Framework!Ward just that much more of a beautiful thing, to get to see what it would have been like if the Season 1 persona had actually been the man.

Also as covered in the last update, I was really very pleased to see how much character work was being done in this season.  Because I only watch and rewatch starting from the second season, there are important plot points that I’d been grudgingly attributing to this season about which I’d forgotten the specifics, such as, what’s the deal with Gravitonium, howcome we hate Ward so much, where did they get that memory-torture-machine, why are you acting like I recognize Titus Welliver’s character?  What surprised me was how much of a focus there is on character development as well.  A lot of good origin story stuff, like how green FitzSimmons is and how soft and good-hearted Skye is and all the reasons we respect and trust May and all the reasons we would follow Coulson to the ends of the earth.  Watching a found family start to put down roots is worth it, too, ten times out of ten.

The tie-in stuff wasn’t as overstated and stifling as I remembered it being.  They were allowed quite a long leash even this far back.  Centipede is based on Extremis, but helms a a unique narrative.  The Asgardians-of-the-week are just MacGuffins for driving character stories.  Turns out all of SHIELD has been Hydra all along!  Sucks to be you, a show about the Agents of SHIELD ... oh wait, Daddy MCU’s insane twist is mirrored in the DNA of your team’s composition AND baked into your overall season arc?  Well then.  Carry on!

Engaging with Season 1 explicitly as a prequel is a powerful thing.  First time through, I had the distinct realization that “too much of a good thing” was at play regarding Coulson.  He’s everybody’s favorite MCU character in 2013, hands down, but ... getting intimate with him for 40 minutes a week really waters down his mysterious G-man appeal.  BUT.  After spending six+ years with the man, Season 1!Coulson is a precursor to the 3-dimensional Director you’ll fall in love with, rather than a distortion of the one-liner MCU!Coulson you thought you wanted.

So what’s next!  Absence makes the heart grow fonder, and here all all the things I associate with AoS that were not present in Season 1:

Robot hand.

DaISy JoHnsOn

AGENT/DIRECTOR MACK where is he I need him

Fitz’s facial hair

Their underground SSR base with the exposed brick, I miss that place all the time

Hive, Bobbi*, Hunter, Kyle MacLachlan, Maveth (everything** about Seasons 2 and 3, really).  Robbie Reyes.  Aida and Kasius!!  I know these things are temporary, but they’re so important to the best bits and I love them.

Getting to see episode after episode where there are scenes at a time containing a majority (up to 100%) of women and/or POC characters with executive agency, and none of those characters are token or temporary but were placed there with intent to normalize a diversified cast.

My absolute favorite episode of all time, 4x15 Self Control.

Things I am not looking forward to:

**Lincoln.  I’ve seen these seasons four times and just now I had to google his name because I wasn’t sure it wasn’t Logan.  He’s garbage and I’m glad he’s dead.  Other opinions are available.

Misc. Thoughts

*I said I wouldn’t name names but Adrianne Palicki is a C-lister who can swing a B+ if the stars align. I love Bobbi, though, especially the way the character’s reputation precedes her, how her adorableness complements her badassness.  In fact, the character’s a great foil to May, who is also a badass lady and S-tier agent but has a completely different approach to being those things.  Bobbi’s a reminder that badassness and aloofness are not correlated at all.  Also there’s a headcanon out there that she’s non-binary (one of the reasons she prefers Bobbi over Barbara) and that is a concept I can get behind.  Bobbi’s perfect and I’ll fight you if you don’t agree.

Poor Trip!!!!!!!  When you always start from Season 2, he’s really just a flash in the pan, there and gone.  I’ve always been like, “well, he didn’t really have a home here, no carved-out niche, so I guess getting Coulson’d and becoming something to avenge is the best a character like him is gonna get.”  But now that I see that he comes late to the game as a literal stand in for Ward, his story is that much sadder.  He was never intended to BE a character.  He’s introduced with Garrett as a pawn/distraction during this arc’s who-is-Hydra shell game, he’s kept to demonstrate what kind of friend and agent Ward should have been, his defining character trait as a gentle flirt only serves as a catalyst for Fitz’s coming to terms with his feelings for Simmons.  The poor guy is just a walking plot point, up until the bitter end.  :<

I had entirely forgotten and/or never tracked the fact that Fury put together Coulson’s team specifically to monitor him after project T.A.H.I.T.I.  I’d forgotten the distrust Coulson has for May after he perceives that she has betrayed him by being a part of this.  It’s a season-specific reveal that is literally never mentioned again.  It’s important to the fabric of the narrative of that particular arc, offering up May alongside Ward and Trip as fodder for the aforementioned shell game, but the true inciting incident of this entire show just gets swept under the rug and ceases to matter.  I’m kind of :/ about that.

When you’re bi and non-binary, you’ll get a lot of mileage out of wanting to be/be with Daisy and/or Fitz, don’t judge me

In conclusion, Season 1 is the opposite of literal garbage, Agents of S.H.I.E.L.D. is my favorite show and my favorite MCU movie, Daisy Johnson is my favorite Marvel superhero (not related to Season 1 but still true), and nobody had better spoil Season 7 for me pleaAAASE don’t let it happen.

[eggshellsreview]

Steven Universe (Season 1) review

The now incredibly popular Cartoon Network animated show created back in 2013 has only spiked even more in popularity due to the recently released movie that caught my eye and made me decide to dive into the show first hand just to see what I've been apparently missing out on the past few years.

Unfortunately for me, Steven Universe started airing on Television before the time that I was more open minded about animated series or even just wider genres as a whole. However, since then, a lot of animation and other content has made me spread out my taste and turned me not just willing to watch more animated content, but gladly willing to watch. And I will say, that so far, Steven Universe has only reinforced that new mentality as it surprised me in great ways.

Steven Universe follows a very young, very enthusiastic protagonist of the same name in his abnormal childhood adventures, rooted to his unwilling connection to what I can only describe as sentient rock extraterrestrials. These extraterrestrials are permanently referred to as Gems in the series and are equipped with what you'd expect: Super advanced technology/intellect, superhuman abilities, and a whole lotta backstory to unpack.

For context, I spent several years with a best friend who absolutely adored the series, and even though I wasn't particularly interested in the show, I'd always let her gush to me in great detail her favorite aspect of it; the lore. Because of this I'm already familiar with a decent chunk of the backstory that surrounded the main characters and their origins so to say, but I will say, that even though hearing about the show never made me want to go running and put it on to watch, watching how the information that I know unfolded through the show in its incredible pacing was a completely different experience.

The Gems that the story follows are a small group of short and sweet personalities. Pearl, the level headed scholar. Amethyst the rowdier, messy fun haver. Garnet, the quiet neutral one who doubles as the muscle of the team. And of course, the star of the show, Steven, the 10 year old rare half-human, half-gem hybrid trying to become a full fledged member of their team; The Crystal Gems. With their sworn duty to defend Earth from mystical threats, we watch as the Gems teach Steven some basic training and lessons of what it means to be a Crystal Gem as we simultaneously learn alongside him, who the Gems are and why they're here on our planet doing what they're doing.

This is where the show excels most. The way the show feeds information to the audience is incredible. As a loose comparison of another family friendly animated series with lots of lore about non-human characters saving the planet, I'll use My Little Pony (MLP): Friendship is Magic. MLP is a show I binged entirely for its lore and characters after hearing about it from the same friend who put me onto Steven Universe. However, despite being very interesting world building and lore exploration, the delivery of all that information was almost exclusively the scholar characters giving us very lengthy discussions in between action of episodes. Steven Universe doesnt do that though. Instead we get the engaging method of the show dropping hints, clues, and tid bits of information in a chain of loosely related episodes. For a simple example, in the lore of the show, there's a cave of important value to Steven's character. However, instead of just having Pearl go "Oh, Steven, let me show you this important location and give you a 4 minute conversation about its importance", we see implications to this place's existence over the span of the first episodes. After that, we see Steven discover it through an entirely nontraditional manner and explore it alone not knowing what it is, therefore not giving us any information about what's truly going on. Finally, a bit after in the season, we get a formal introduction to the location by Pearl to wrap up what we need to know about it in a brief minute or two. What this does, is allow us as the audience to theorize the meaning of things or people for a while, then be gifted actual on screen information in a nonformal history lesson kind of way, then have suspense for when we finally get the last pieces of the puzzles. Its a much more engaging method of giving information while eventually saving time for the formal information which may not sound like much. But when the episodes are 11 minutes long, cutting down 4-5 minutes of a history lesson, to just 1 or 2 minutes leaves more room for episodes to visually show case the significance of key information in action rather than just spend half the episode talking about it.

I'd say the only thing more important than the lore of the show however, is the atmosphere. With its watercolor sort of aesthetic to help set the general feel good and innocent tone the show it usually carries, it tends to use its art style to also butter you up for some crazy emotions. Steven Universe may have simple characters, but their dynamic between one another ends up pretty deep. Whether it's something like Garnet's quietness dropping for a moment of genuine anger or hurt because of her reaction to something. Or Amethyst dropping her carefree attitude to reveal how much she cares about something happening. The context of these moments are always INCREDIBLY powerful and filled with sincere dialogue that has left me tearing up more than just a couple of times and in my opinion, are what truly made this first season of Steven Universe a phenomenal pleasure to watch.

Another reason this show manages to have extremely good portrayal of emotions is due to its now iconic music numbers. Though they're expected, the songs sung by the characters in their appropriate moments always portray just what they have to. Funness, sadness, distress. It's a real treat, and really helps characters with simple, but strong personalities express a larger array of emotions than natural dialogue could. My favorite parts are always when they sing during action scenes because admittedly, the non musical number tracks of the show arent especially stellar. They get the job done and fit the atmosphere, but there were fewer times than I wouldve liked that I actually thought, oh hey this background track is great.

All in all, Steven Universe is an incredible show so far. One that I'm immediately continuing as soon as this is posted. The show knows what it wants to be and how it plans to do it, leaving us just an objectively well paced, well written, and crazy fun ride through an original fantasy world where you constantly want to learn more and where teases leave you constantly engaged. There's so much more I could've said, and want to say, about things like side characters, character designs, Gem abilitied (especially Gem abilities), but with this season being so long, I'd like to prioritize the more key elements of the show. Though rest assured anyone who hasnt watched the show, the things I just listed are presented and written as well as everything that I was able to talk about. Ultimately, I give Steven Universe, Season 1, a 9.5/10 rating. With genuinely nearly no complaints, even though it took several years to even give the show a try, I was left not only entirely satisfied in every category, but it exceeded all expectations and had left me crying, jaw dropped, and emotional every time it wanted to. I'm a huge fan of the show right now, and I seriously think anyone who hasn't, should really give it a watch.

[rosecorcoranwrites]

Writing Q & A #1

This is stolen from one of my own ask games, but (A) some of my answers and changed, (B) no one ever asks me for those games anyway and ( C) I do what I want!

Q: What is your favorite punctuation mark?

A: Anyone who has read the Styx Trilogy knows that it is the ellipsis, followed closely by the m-dash.

Q: What writing taboos do you break consistently?

A: "Don't use adverbs", "don't use passive voice", and "don't use prologues". I have no regrets.

Q: What POV do you prefer and why?

A: I prefer third or first from multiple viewpoints. I'm just not a fan of sticking with one character throughout the whole story.

Q: What tense do you prefer and why?

A: Past, hands down. I am grudgingly using present tense in my novella-in-verse because the immediacy adds to the who-dun-it-ness, in that you are seeing exactly what the characters are thinking as it happens. I think present tense sounds extremely unnatural in prose, but since poetry is already artificial, it actually works.

Q: Adverbs: for or against?

A: For. Why? Because adverbs, unlike present tense, sound natural. I would much rather an author use "adverb + everyday verb/adjective" to describe something than "flowery verb/adjective that sounds completely jarring in the narration" or, worse "inexact fancy verb/adjective that might be a synonym for an everyday verb/adjective but has a totally different connotation". There's some old author adage about saying "exhausted" instead of "very tired", but "exhausted" is not the same thing as "very tired", and would not work in all the same circumstances as "very tired", so it should not be seen as an automatic substitute. Part of writing is choosing the right words, and sometimes the right words are the ordinary, everyday words that you and I use all the time.

Q: Do you outline or not?

A: Well, now I do.

Q: Do you prefer writing dialogue or narration?

A: I prefer dialogue when writing prose, but narration when writing poetry. I secretly (or maybe not secretly?) like being overdramatic when describing things, and poetry allows this more than prose. On the flip side, I like realistic-sounding dialogue, which is trickier to write with poetry.

Q: What punctuation/grammar/spelling errors do you make consistently?

A: I don't use question marks, tend to stick apostrophes in plurals for no reason, and generally make a lot of spelling mistakes. Spelling is not my strong suit.

Q: Do you write characters based off of real people or make them up?

A: I make them up, but sometimes they are loosely based on other fictional characters, or perhaps even just the arcs of other characters. I have sometimes created characters off of the missed opportunities in other people's stories.

Q: Do you write more guy or girl characters?

A: Girls! I have no idea why this is. I wouldn't say it's because I'm a woman, because I have female friends who do the opposite and write mostly men. It's just what my brain comes up with!

Q: Which is easier to write: guys or girls?

A: 99% of the time, they are equally easy to write. The exception is when writing the social niceties of romantic relationships in the 20th century! I've researched aspects of this from the man's perspective, like "how soon is too soon to give a girl flowers" or "how do you make it clear you're asking a woman out on a date", because a certain character in my alternate-history/fantasy/mystery WIP is head-over-heels for an absolutely oblivious woman. I need to walk the razors edge of him being obvious about his intentions without seeming desperate. I've never had to research anything about women, so I think that means men are just a little harder to write.

Q: Which is easier to write: original fiction or fan fiction?

A: Original fiction. I might do the odd fan fiction as a poem or in my head, but most of what I create is original.

Q: What do you include in character descriptions?

A: I'm very much a minimalist. I might mention a few features--sex, height, dress--but little else. The secret behind this is that... that's sort of how I imagine people... I honestly think I have a mild case of prosopagnosia, and have a horrible time both remembering and recognizing faces. When I think of a scene, as I've said in previous posts, I might picture blocking and close ups and actions, and maybe facial expressions, but rarely actually imagine what the characters' faces look like. I'm not one of those people with face claims or detailed lists of identifying marks should my characters disappear or show as Jane Does. It's just the way I am.

Q: Do you let people read your rough drafts?

A: Yes! Usually only very close friends and family. Perhaps I will use betas in the future, but we'll see.

Q: What do you do with your rough drafts once you write a new draft?

A: I save them! Once I tried to keep these in organized folders on my computer, but then I started more than one folder for some reason, and one thing led to another and... let's just say that the old drafts are all safe, but are scattered all over the place.

Q: How do you handle writer’s block?

A: I talk about the story to someone I trust, usually a family member. Just bouncing ideas off of someone, or hearing their reaction to a plot point, can be a big help.

Q: How many stories do you work on at one time?

A: Usually two "on paper", be that outlining or actually writing, and several in my head.

Q: Do you write from beginning to end, or jump around in your story.

A: In my head, I jump around. I try to generally start at the beginning while writing "on paper", but sometimes I'll skip scenes that are giving me trouble or will jump to scenes that are the most fleshed out.

Q: What is one thing you would never do in a story or to a character?

A: I would never use a character's death for shock value. I absolutely detest when authors do this, because it is clear they don't care about their characters and have no better means of surprising their audience. To be clear, I'm fine with shocking deaths as long as they are fitting, naturally follow from the story, and have some point, effecting the story or the characters after the death. Shock-value deaths serve no actual purpose other than to shock the audience; they are the jump-scares of death, which is a pretty poor reason to nix a character.

Q: What do you do if you come to a fork in the road (where your story could go one of two different ways)?

A: I usually write out in too columns what this will mean, not just immediately, but for the rest of the story. I choose the one that ends up with a more satisfying result.

Q: Do you “write what you know” or not?

A: Technically yes, because my writing is based off of the massive amount of fiction I consume in my life. My alternate-history/fantasy/mystery is also going to be chock full of things that I happen to be interested in: true crime elements, the history of the atomic bombings, Japanese everything, folklore, etc etc.

Q: How do you figure out your characters' looks, personalities, and speech patterns?

A: It mostly just sort of happens, honestly.

Q: How do you figure out character motivation and backstory?

A: By doing a lot of daydreaming and letting my imagination do what it will. Some characters are very easy to figure out, while others have trickier situations to deal with, relevant to the plot or otherwise. But, truly, daydreaming and letting my mind wander is my modus operandi for character backstories (and regular stories, truth be told).

[allthefilmsiveseenforfree]

Ant-Man and the Wasp

Brief hiatus for the last week, and part of that was because sometimes I just don’t know what to write in my reviews, you know? This is another one that it’s like, what are you really expecting me to say? Hot damn, Marvel, you’ve done it again? I mean, they did. But is that news? At this point, not really. They’ve done it NINETEEN TIMES BEFORE, GUYS (alright...seventeen times. BUT STILL). No one is surprised anymore. So what’s left to talk about? Well...

Do you need a plot summary? They have suits that make them tiny. Or big. That’s pretty much the gist. Oh, and they’re trying to get EVEN TINIER to go into the quantum realm and rescue Janet Van Dyne (Michelle Pfeiffer). And the feds and some like, arms dealers maybe? I honestly can’t remember who the other guys are, but anyway, a lot of people are after our heroes for various reasons because you know, life’s complicated.

Some thoughts:

It’s certainly nice to have a woman on the bill as a lead superhero and Evangeline Lilly’s Hope Van Dyne (aka Wasp) does not disappoint. She proved in the first film that she’s all-around the more competent fighter and strategist, so seeing her take the lead on most of the action scenes here feels right and satisfying. Hope is the impetus of the plot, and it is her quest that pulls Scott (Paul Rudd) out of his quiet house arrested life. Really, this movie could been called The Wasp and Ant-Man is there too I guess, which I am down for. I kind of love that Scott is the reluctant sidekick in his own movie. 

Can someone explain to me why Sonny Burch is in this movie? He feels like a poor man’s Justin Hammer, and he’s played by Walton Goggins, aka that guy that you cast in everything so audiences know even though he looks like he might be an ok dude, he’s actually the villain and you’re going to hate his guts. Also he’s vaguely Southern. 

I would pay to see an entire sequel all about the dog-sized ant pretending to be Scott under house arrest.

So everyone’s talking about the mid-credits scene, right, like the whole movie doesn’t even matter it’s just “we want to know how this fits into Infinity War, tell us Marvel, tell us now, oh shit I didn’t mean like that.” Personally, I don’t know how the movie could have ended any other way. And it’s a little annoying that the main takeaway people are getting from this movie is how it relates to Infinity War because the movie itself has a lot to be proud of on its own, and not in relation to any other MCU  properties.

I was a particular fan of the movie’s...not even villain, really, but antagonist, Ava/Ghost (Hannah John-Kamen). Ava’s not trying to hurt anyone, not really, she’s just trying to save herself. Much like the Winter Soldier, she was a weapon created by SHIELD and used by HYDRA, and I found her performance to be genuinely sympathetic and compelling. I hope she comes back for future installments, as I think she could be a very interesting Good Guy With A Dark Backstory, a la Black Widow or Winter Soldier.

As in the first film, Michael Pena absolutely steals the show in every scene he’s in. The truth serum scene might be the funniest thing in the MCU so far.

One of the things my friend The Writer pointed out is that the Ant-Man movies are the only ones that show us the previous generation’s heroes still in action. Having Hank Pym (Michael Douglas) and Janet Van Dyne and Bill Foster (Laurence Fishburne) all in play creates such a rich dynamic that’s totally different from any of the other MCU movies. 

But like where did Janet get her weird quantum realm highlander clothes? And where did she find makeup in there because ain’t no way that eyeliner has held up over 30 years. How does she shower down there? What does she eat? I want a full debrief on everything that went down in the quantum realm, and my biggest qualm with the movie is honestly that we don’t get to spend nearly enough time with Janet.

The movie is fun, fast-paced, and after the world-building of Black Panther and the behemoth that was Infinity War, this one feels honestly...quaint. It’s (no pun intended) smaller than a lot of other MCU films, and that’s a real asset here. The characters feel like a real family unit, which makes everything ten times more personal and immediate. It also helps that the Ant-Man movies are, essentially, heist films, which keeps the action and dialogue light and breezy - a necessary palate cleanser after Thanos’ whole big thing.  

[lolcat76]

WWSRD, Sharon Raydor, and a fangirl’s thoughts.

I just finished #WWSRD and I have a lot of thoughts, so bear with me. Or ignore me. Either is fine.

First, I totally understand Mary’s frustration with the fans’ reactions across the board, and now I feel bad for making her feel bad, because I know just how lucky we are to have someone who is so invested in her art and her fans to care about what we think. I am so grateful for WWSRD to give me a chance to breathe, understand the process of creating this character every week, and see the show from the perspective of the actor who lived the character, which is such a gift for someone like me who craves that insight into character development.

I also understand Mary’s protectiveness of the show and cast and crew, and I feel even worse that our outpouring of grief and rage diminishes what they’ve accomplished over the last 13 years. The two are not related, especially in terms of cast and crew. Everyone from the directors to the actors to the tape loggers and PAs have done a wonderful job with this show. Take a bow and please accept my gratitude for a job very well done.

As you all know, I write a lot of fanfic, but I also do graphic design and corporate communications for my day job, and in those instances, when the point I’m trying to get across falls flat or someone just doesn’t like my design, my first thought is, “Well, you’re an idiot.” (And usually my second and third thoughts as well.) (Mary is a lot more diplomatic than I am.) It’s never easy to hear that someone’s reaction to something you put your heart and soul into is that it sucks and they hate it. It doesn’t, however, mean that the work isn’t valid. It’s just not necessarily being read the way it’s written, and that’s a fact of life every creator of content has to accept.

There’s a big difference between creating content and consuming content. Once a piece is created, the creator has to relinquish control over how it’s consumed, because no two members of the audience internalize art or fiction or television in the same way. That’s the whole reason we have fandom wars on this godforsaken site. Not only that, but what is satisfying for a writer or an actor is very often vastly different than what is satisfying for the audience. I can and do support Mary’s playing Sharon’s end, acknowledging it as a valid creative plot point, and loving the choices that she made – and I’m also very grateful that this podcast helps me understand those choices – and still, I’m just so heartbroken about Sharon’s death. The first is because I have enormous respect for the actor and the writers and the creative process and, the second is because I’m a fan of the actor and the writers and creative process, and sometimes those two things just don’t mesh well together, because the audience isn’t in the same place in the creative process. We didn’t have several months to process this. We had a few weeks, and I’m not speaking for anyone else, but those few weeks were pretty sucky for me.

I think anyone who cares about their job – whether it be in the entertainment industry, or accounting, or making fancy lattes – wants to do it well and wants to be challenged, and for an actor, there’s no bigger challenge than trying to portray something as difficult and emotional as a death and do it justice. The disconnect here I think is that while Mary did a beautiful job with Sharon’s last two episodes, the fans were not ready for her story to end. I’m sure the general audience watched it and thought, “Oh, that’s sad,” and went about their business, but for those of us who are probably way too emotionally attached to the character, it’s hard to separate the craft and care that went into shooting those scenes from the gut-wrenching reaction we had to watching them. My anger at what happened to Sharon has pretty much zero to do with the cast and crew, who have been phenomenal, and everything to do with my own life. That’s on me, and it’s not a reflection of the work in general, but that’s the point of art – it does touch people, and you just can’t control HOW it’s going to touch them. To quote one of my favorite inappropriate songs from the ’90s, sometimes it’s a bad touch, and that’s where I am right now.

I will say, because it’s my blog and I can be salty if I want, that I don’t think the writing or editing clarified  Mary’s analysis of Sharon’s thought processes, and I wish it had. If it had, I don’t think we’d have had the visceral reaction that Sharon put herself directly in harm’s way. Having listened to WWSRD, I can go back and rewatch those two episodes with an entirely different mindset on Sharon’s motivations and decisions, but without hearing Mary’s thoughts, some of the things she brought up were just not clear in the writing. Too many things were open to interpretation, and there were too many moments of foreshadowing in the scripts and in the editing that just made it look like Sharon was preparing to die. And, from a completely personal standpoint, that was incredibly hard to watch. From her not wanting to be a burden to going to ask for last rites, it seemed a lot less like taking control of her story and a lot more like surrendering to her fate, and it wasn’t a fate that I would choose. Mainly because to me, I’ve always been afraid that my death would be far more of a burden to my loved ones than my life is. Andy is going to have to pack up her clothes and her office. He’s going to have to sort through her finances and make sure her children are taken care of, and ensure that Rusty has the means to make it through law school. He’s going to have to live in the condo she decorated without her, and you guys, the thought of that makes me so sad I can barely stand it. The idea that it would have been easier for her children and Andy if Sharon had just died the first time she went into cardiac arrest…Nope. Nothing about death is easy, but death that comes with no warning is the hardest thing in the world to go through for the people who love you.

Being again true to form, I’m going to bring up my beloved Laura Roslin. She was introduced to us as a character who was dying, and the concept of being the Dying Leader was 100% part of who she was. Her death was awful, and I’m still not over it, but it was also beautiful and meaningful, and those last moments in the Raptor with Adama were very much the culmination of their story. Sharon’s death was…not that. Laura died with Bill, him showing her the beautiful endpoint of everything they’d worked for over the last several years. Sharon died on a gurney, surrounded by strangers, in the ER. Laura found love in spite of her impending death; Sharon died in spite of her happy life. One has poetry and meaning, and the other is just…well, I’m going to reiterate it. It was just cruel. To me, it is the complete opposite of dying doing what you love, and that waiting room scene is probably the most heartbreaking thing I’ve ever watched, with her husband and son and the friends she’s come to love over the years kept out of the room, just waiting and hoping, only to be devastated by the doctor coming out to break the news.

As I said in our Fans React podcast, Sharon’s dead. She doesn’t care. Her children and her husband, though, have to figure out how to go on without her. That’s the hardest part of this – that as much as I love Sharon and grieve the loss of this kickass character, I also love the rest of the cast, and they’re going to have to soldier on without her. Watching the last four episodes knowing that they’re going to be in that kind of pain – a pain I think all of us who have lost loved ones understand – it’s hard. It’s really hard. I don’t really want to go through that kind of pain while watching a TV show that I use to escape, because it opens up a lot of things that I don’t even want to think about. Which, frankly, is why I like the “safe spaces” of television – it gives me a little break from dealing with the daily car fires of the real world.

And, to dovetail into Mary’s point about feeling grief, I hope we’re going to be able to do that in the last four episodes, because I need to grieve not only for this character that I love so much, but also for her husband and children and friends, but I’m afraid that we won’t. At its heart, Major Crimes is a crime procedural show. I know the funeral next week is going to probably knock me flat, but I’m also afraid that it will be much like the wedding – overly hyped and then three minutes at the beginning of the episode, and then BAM right into the next plot, and the next plot being the final plot that ties the two series together and omits the two female leads is just so, so disappointing.

The next four episodes will be about Stroh and his backstory and his coming after Rusty, and I know that’s a plot point that has been something like 10 years in the making, but I can’t switch gears that quickly. Nor do I want to, because my involvement with the show over the last several years has absolutely nothing to do with the cases and everything to do with the characters. I knew the Stroh story would have to come to an explosive close, but I never thought it would happen without Brenda or Sharon, and to have neither of them figure in to it just makes me wonder…what’s the point? I know that it’s Rusty’s story, but it’s just as much Sharon’s and even more Brenda’s, and to leave them both out at this point feels like a dismissal of the last 13 years, and to shove it into two nights…so frustrating.

Obviously, TNT has done a huge disservice to Major Crimes, The Closer, and even Duff in the last few years, but ramming the last several episodes into the space of a few weeks might be the worst thing they’ve done. We still have so much left to process, and trying to cram it in over a couple of nights is just really unfair to the fans.

I know life is hard. I bet you all know life is hard as well, or we’d all be out living life and wouldn’t be here on Tumblr obsessing over TV characters. I don’t need to watch TV to be reminded that life is hard, because I have to wake up every day to the dumpster fire that is American politics. I watch TV to escape the idea that life is hard.

(Temporary word-vomiting break to say that yes, HALLMARK CHRISTMAS MOVIES ARE GOOD AND LEAD TO EVEN BETTER FANFIC PROMPTS.)

Now, going back to safe spaces. That phrase is fraught right now, because at the moment Tumblr is my safe space, and GOD ONLY KNOWS WHAT THAT SAYS. To address Mary’s point about the safe space of TV recognizing the evil in the world and righting it, YES, that is one of the things about MC that I love – that these characters were so deeply flawed, and yet still so moral and ethical. Living in LA, I have to say that MC made me very sympathetic to the LAPD. Every time an old 90’s Crown Vic passes me on the 110 freeway, I think, aww, Provie and Andy still have their old shitty cars from the 90s, rather than panicking about whether or not I’m speeding on the freeway. (I’m never speeding on the freeway, because LA traffic sucks.) But, for a fan, a safe space is a totally different thing, and that’s the space where we have an hour each week to forget about all our worries. MC was that for me, and from this point on, it won’t be. And that, as much as Sharon Raydor, is the loss I’m grieving.

I wouldn’t be so torn up about it if MC had been a dark show from the start, but it wasn’t. Even the hardest episodes to watch – and there have been many – still had humor. There are so many episodes going back to The Closer that I watch again and again because in the midst of murder and chaos, the characters gave a breath of life into the stories. Even going back to the start of MC, with Rusty and Stroh, and Provenza and Sharon going head-to-head, I was so invested in how these interpersonal relationships were going to play out. I didn’t give a shit about the grocery store murderers in that first episode. I cared about how this cast of characters was going to come together, and through the first season they came together through a combination of wit, stubbornness, compassion and intelligence, and it’s those qualities that draw me to people in my own life.

Those characteristics also made me fall hard for Sharon. Most of the women my age on TV are moms who play secondary characters (two things that I’m not and don’t aspire to be), but Sharon Raydor was, from her introduction, a badass police captain who happened to be a mom and happened to be over the age of 40 and happened to be the unapologetic boss. She was important despite (and because of) being a mother and a woman over 40, and she wasn’t willing to be dismissed because she was a mother and a woman over 40. She was important because she was a high-ranking professional, completely at ease with being a woman in a male-dominated field and not afraid to tell men who outranked her to shut up and sit down, and to quote @dillydallyy, shove a feminist foot right up someone’s ass. I’ve worked in television and commercial real estate, both traditionally male-dominated fields, and being the only woman in a room full of men…that’s my life. Every damn day. And to see a woman, not just in the same position but in a leadership role, OMG. Yes, kick them in the ass with your feminist heels and stroll out of the room in your Armani suit.

This kind of character is so rare, especially on network TV and basic cable. I wish I had some statistics handy, but the reality is, it’s rare to find a show that features women in prominent leadership roles, and when we find them, yeah…we’re going to be pissed when they’re taken away. I’m pissed. I’M SO PISSED. I have very little representation to fall back on, especially since I’m a huge cheapskate and I ditched cable TV a year and a half ago.

Speaking of representation, I’d like to go off for about ten thousand words about Sharon Raydor and even Brenda Johnson as powerful role models cast as lead tv characters, the lack of women writers and directors in the media, and what it means to women like myself over the age of (cough) 40 to see a lead character in a highly-rated tv show, but…I just can’t. I’ve been living in a state of feminist rage for a long time now, but I will say that watching Sharon die killed off a little bit of myself that felt so hopeful, especially in a storyline that was so timely in portraying what a woman has to go through to be successful and recognized – or hell, even employed – in the world today. Again, not to pile on James Duff, but killing off the lead female character at the tail end of a story arc that kills off women…it really hurts. It may not have been his intention, but it was my perception as a woman who watches the show. And killing off the lead female character before delving into the last story arc that is going to be the culmination of several years of plot points…listen, I’m with Mary. I don’t like guns. I don’t like violence. I don’t watch this show to watch Sharon Raydor shoot a dirtbag between the eyes with a bb pellet (but HOT DAMN THAT WAS AWESOME), but I also don’t want to see the strong female lead drop dead from a deus ex machina plot point before the story reaches the crucial point that has been building for several seasons. For Sharon to be gone, that means the rest of the story will be told through the male gaze, and…you know, I’m trying to be respectful and trying to be on board with that, but it’s not what I, as a woman, hoped for. I didn’t need Sharon to go in guns a-blazing, but I did need her to be a part of the final chapter of this show and of this story that she was so heavily invested in, because otherwise, how is it not yet another example of the woman dying and the men living on to tell the story? Brenda first and Sharon second were so pivotal in putting Stroh in the crosshairs, and having both of them out of the story…it’s just another cop show with men outgunning men.

And finally, I will say, for the fans who love and live and breathe these characters, watching Sharon and Andy walk off hand-in-hand is exactly the ending that we wanted, because it means that, truly, Sharon Raydor lives on. In our imaginations, in our stories, in our funny banter back and forth while we argue on social media over whether Sharon drinks tea or coffee. Long after the writers and actors and crew members move on to other jobs, the fans will still be holding on to these characters. For Sharon to die, it kills a big part of what makes fandom so special, the part that takes these people we’ve known and loved for so long and lets us as fans breathe our own bits of life into them long after the network has shut them down. Holding on to that years after the show ends isn’t disrespecting the writers or the actors; doing that means that after TNT killed the show that we love, we can still believe that Sharon and Andy are out there, somewhere, solving crimes or cuddling on the couch or choosing new ballet artwork to hang in their condo. We can write it, we can joke about it, we can picture it so clearly. Killing Sharon killed that bit of infinity in the imagination that lingers after the show ends. I can, and have, and will rewatch the episodes that we have, but from a fan’s perspective, the idea that the character is never truly gone only exists when the character isn’t truly gone. Saying goodbye to Sharon as a character is about a thousand percent harder to saying goodbye to the show, because saying goodbye to Sharon as a character IS saying goodbye to the show. I’ll watch the next four episodes, but it’s going to be with a heavier heart than I ever imagined.

[aion-rsa]

How The Boys Pulled Off Its Wildest Episode

https://ift.tt/3yOwx0I

Director Sarah Boyd had a lot to unpack in The Boys’ standout episode “The Bloody Doors Off”. The season 2 installment kicks off with a disturbing sex romp between a turned-on Stormfront (Aya Cash) and Homelander (Antony Starr), but only after he crushed a man’s face in with his hand. 

Meanwhile, Butcher (Karl Urban), Hughie (Jack Quaid), Annie a.k.a. Starlight (Erin Moriarty), Mother’s Milk (Laz Alonso), Frenchie (Tomer Capon) and Kimiko (Karen Fukuhara) take a road trip to the Sage Grove Center, a facility Annie stumbled across on Stormfront’s laptop. They discover the institution serves as a testing ground, where reluctant subjects are being injected with Compound-V… to varying results. To further complicate matters, former Seven member Lamplighter (Shawn Ashmore) had been recruited to keep the patients in line – or roast the unruly alive with his fiery powers. And, as it turns out, Frenchie and Lamplighter shared a shocking history together.

Boyd spent years as an editor on such high-profile shows as Lost, The Killing, and Bates Motel before successfully pivoting to directing on Bates Motel, Agents of S.H.I.E.L.D., The Flash, This is Us, and The Boys. Currently in pre-production on The Boys’ final two episodes of season 3, Boyd spoke to Den of Geek about season 2’s wildest episode, the series sex and violence, and what’s in store for season 3.

Den of Geek: When you received the script for “The Bloody Doors Off”, what was it about this episode that spoke to you?

Sarah Boyd: I’m not sure it spoke to me, but I got excited about the Sage Grove craziness, and the tension and action in there, and then the reveal of Lamplighter. I was really looking forward to introducing and creating a new character that the audience hadn’t seen before. I didn’t know who they were thinking of casting at first. Then I saw Shawn Ashmore’s audition tape. That’s when I first got super-excited.

How comfortable were you with the episode being so special effects-heavy?

Special effects and VFX, I’ve done both. And as a longtime editor, I’ve worked on lots of shows with visual effects and special effects. The action stuff was pretty comfortable for me. It involved a lot of prep. It takes a lot of time and forethought to orchestrate how you are going to shoot it, how you are going to make it look real. Of course, it’s not real, so how are you going to make it real? And when the stunts are happening, how are they going to be done faithfully? What’s the best angle to film them from? This show has a lot of gore, a lot of action and a lot of sex. These are all things that need to be carefully orchestrated and done to make sure everyone is comfortable and safe. Sage Grove was one example of where we knew we had a lot to do, so we had very jam-packed days at the Sage Grove Institution. 

Taking into consideration the action and sex, were there any particular sequences that required extra discussion with the cast or producers? 

We always have meetings with actors, individually and then together, when there’s going to be an intimate scene. For example, the scene with Homelander and Stormfront in the alley at the beginning of the episode… It’s not particularly graphic in terms of how much of their bodies you see, but anytime there’s enough people insinuating sex, you have a discussion with each person. Then there’s practical things like, “When you wear the super-suit, it’s hard enough to take off your pants if you don’t take off your boots.” It’s like, “OK, we have to think about this.” There’s a certain amount of conversation that goes into that. But we talk not only about logistics, but about the characters’ emotions. I wanted to make it clear that it was a scene where they were really having a connection and that it was an emotional thing. It wasn’t just graphic, and it wasn’t just empty sex or empty violence. It was all part of their commonality that brings these characters together.

The Boys is known for its extremes. How did you approach the bloody component with Homelander crushing a man’s face in?

Read more

TV

The Boys: Antony Starr Believes Homelander is Misunderstood

By Alec Bojalad

We always have prep conversations about how we are going to shoot something. Is he going to smoosh a dummy or a prosthetic imitation of a person? Is he going to start pushing into a real person’s face and then we cut, and then VFX takes over? You go over different angles. In that particular scene, we were prepared to do a prosthetic, but we decided it would be better and more effective to what we needed to get done if we put a whole bunch of dots on the actor and then let VFX take over. Also, the actor had to get smooshed and then fall. When a dummy falls, it looks like a dummy falling. Whereas, when an actor falls, even if he’s missing a head, everything else about him would be himself. It was more effective for the actor and for us to change his head in postproduction. 

For the Sage Grove segment, production took place in an abandoned asylum. In what ways did filming on location create an atmosphere and vibe for the episode?

It was an amazing, but also disturbing, location. It really did have the vestiges of what it used to be. It used to be a hospital for the criminally insane. It had a very musky old smell to it. We had to air a lot of those hallways, just so we could tolerate being in them. Then, of course, the production designer and team had to create a lot of specific things in those rooms. Those rooms were empty, and we had to fill them up. But the location was inherently right for what we were looking for. It had a labyrinthian layout. There were different looks in each hallway, in terms of the color scheme or whether it had carpeting on the floor. It was large, but it felt even larger. 

And there was so much extra stuff we had to film for the security cameras. We ended up having a second unit working one of the days of that same week, just to get those extra bits. They weren’t just random. We carefully planned them. There’s little bits of people running and screaming and going down the hallways, running down the hallways and getting attacked. There’s even a little Easter egg with Love Sausage grabbing someone and pulling them by the leg down the hall. Each of those take a while to set up. 

There’s a brief scene outside where Butcher has Starlight in his line of fire. There’s a certain look in his eyes. In your mind, how close was he to killing her?

There’s always that tension between Butcher and Starlight. There’s no love lost there. It’s interesting because it puts Butcher in a position. Hughie likes Starlight so much. Butcher is conflicted there. I love that moment and the payoff as soon as Starlight gets back to the van, when they have it out and she’s like, “What’s your problem with me?” It’s an example of Butcher’s pickle. He needs Starlight, but doesn’t like her. 

You mentioned Lamplighter earlier. What were some of the challenges of establishing the aesthetic of his fiery powers and how they would manifest?

Shawn and I had a bunch of Facetime conversations, where he would try different things. He got a Zippo lighter and practiced and became really comfortable with that. That was a big aspect to his character. It had to become second nature. There are over 50 ways to light a Zippo lighter. There are all these tricks. There’s actually a lot of videos about tricky ways to light your Zippo lighter. There were a few we loved, and we were like, “This is great. Let’s show it to Eric (Kripke).” Eric was like, “It can’t be too tricky.” At the end of the day, we had a couple of pitches that were more complicated. We wanted to make it different from other flame-throwing characters, which he is, but we wanted to make it wildly different, and Eric wanted it to be more grounded. We came to a happy medium.       

We had concept art from visual effects. They present lots of drawings and options. Is it going to look like a plume? Is it going to be a straight shot? Is it going to be similar to a laser? We had lots and lots of conversations and choices there.

Cindy knows how to make an entrance. The telekinetic Sage Grove patient made an orderly explode. Take us behind the scenes of pulling that off…

In terms of the splat and the crunches, again, it was a conversation and an evolution of ideas pitched and then coming to an agreement of what it should be. The idea is she doesn’t have to do much with her own body. She just has to bend her fingers in to make multiple metal doors crunch and fall. The smaller little things are more chilling than some giant movement on her body. That was an example of multiple layers. There was an element of her, an element of green screen and an element of gore. 

What was it like for you to get to explore Frenchie’s backstory and his friction with Lamplighter?

It was great. Tomer took it really seriously and we dug in together. It was excellent. I enjoy those flashback scenes. I like, in any story, when you learn about the past, as long as the flashbacks aren’t too early. There’s a sweet spot for when you want to introduce a flashback and it has to be when you are curious. It can’t be when you don’t care. The show waited just the right amount of time. “What’s the deal? What happened? What made Frenchie so haunted?” To get a glimpse of the good old days, when Frenchie was robbing banks and killing Supes… And, then when everything took a turn for the worse in regard to their drug use and Frenchie getting caught and joining forces with Mallory, just finding out how those things happened is very satisfying for an audience.

Was there anything in the script that didn’t make it to the small screen?

The only thing I can think of is this tiny scene, which was at the end. Annie is in a car, having left Hughie and Butcher at the hospital. What she is doing is driving to see her mom, I guess, but you don’t know that. So, she’s driving and looking conflicted about having left and where she’s going and how she feels about what she’s becoming. It was a lovely little scene and Erin did a great job with it.  

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

You are currently in post-production for the final two episodes in season 3. What drew you in about the script for the finale?

It’s always exciting to get the actual script you are going to be working on. But, in order to understand my script, I had to get all the scripts before it. I got all the scripts in a big clump and just tore through them. I was so excited. It’s always amazing when a season that you already like, such as season 2, was as good if not better than the first season. And now, the same thing has happened again with season 3. How do they keep doing it? How do they keep finding the stories that are exciting and surprising you with unexpected things and irreverent moments and smart political satire?

In what way do you approach directing a finale differently than a regular episode?

No matter what episode you are directing, you try to tell that story as captivatingly as you can. The stakes are high for the finale, so generally they pull out all the stops. There’s just more work to do. I don’t know if it’s any different than any other episode, because you try to make every episode you work on as good as it can be.

Maybe one thing that’s different about the finale is these are going to be the images you leave fans with, and for quite some time. So, you want to do right by each character and leave them in a place where you understand where they are at, whether that’s a good place or a bad place, depending on what’s happening. It’s just making sure everyone has their moments.   

Jensen Ackles joined the cast as Soldier Boy. What’s impressed you about the Supernatural actor?

Jensen is fantastic. I’ve already met with him a couple of times, just to talk about his character, and get to know each other. He seems extremely kind and hardworking and thoughtful and is having a great time with his character. That kind of enthusiasm is contagious and I’m looking forward to working with him.

The Boys seasons 1 and 2 are available to stream on Amazon Prime now.

The post How The Boys Pulled Off Its Wildest Episode appeared first on Den of Geek.

from Den of Geek https://ift.tt/3k98lSA

[sangfearmoved]

😍🤔😉

HELP ME PROCRASTINATE  ||  NOT ACCEPTING ✧

😍   —   Is there anyone who inspires you or that you look up to?

oh GOOD i can @ her. @burstbombbitch someone called for u

ALRIGHT. SIT DOWN. I’M GONNA BE HONEST AND TELL YOU A THING. all that neat stuff to soda? robbed from syn. there’s a lot of quirks to soda’s design that weren’t there when i first made her — the diamonds on her tentas, the shape of her mask, even the shape of her build. i took things i liked about bon’s detail and gave variations to soda; all those things listed were added because of bon, even to outright foil her in some cases (just as bon is bottom heavy, soda is top-heavy, though that’s not the only reason for soda’s broad shoulders).

for specifics, i super admire syn’s character design. effective designs convey a character’s personality, place in the world, and visual symbolic motifs — bon’s stars, physique, and dress code are all visual shorthand for various details (for just one thing, she’s round, which creates an immediate sense of kindness and trustworthiness). navarre’s is excellent too; the fact that soda can, in-universe, work backwards to find his species based off his abilities and physical details speaks enough to that. everything about her characters, from the execution to the design, resonates with them (and, if i may say so, her audience) — and that’s The Most Vital Thing as a creator.

the sheer amount of thought that’s put into each facet — worldbuilding, backstory, personality, physical design — is a level i can only aspire to reach. there’s a level of both intricacy and accessibility to her characters, a fascinating amount of self-awareness in all of it, that i can’t help but admire and want to emulate.

🤔   —   What are some differences between you and your muse?

well, there’s the obvious “i’m not a murderer”, but

soda is much more of a romantic than i am! they’re a lot less cynical about romance and stereotypes in general. i can’t stand the things, but their entire character revolves around it, tbh. their sense-of-self is less stable and distinct than mine, considering they’re not one for self-reflection or -analysis, as opposed to me (who analyses everything she touches). she’s also more street-smart than i am, less book-smart.

there’s simple, surface-level things, such as gender. i can’t tell which of us is blunter — i tend to be blunt emotionally, but soda doesn’t have a general filter and loves to tell people to “fuck off”. AND I MEAN… I TRY NOT TO CUSS, SO…

i spend a lot more time on the internet than they do, and i doubt i’d be foolish (brave?) enough to wrap myself up into something like the campaign. i’m shier than soda irl, and keep to myself more; they’re extroverted, after all. we both have a tendency to daydream, but soda dreams about real-world things, not a sort of fandom.

😉   —   Are there any ships for your muse that you enjoy, or ships that you would like to see happen?

GIVEMEHATESHIPS

ok that aside. i heckin….love all the romantic ships i’ve got for soda rn, that being peter, navarre, and dustin — each of them contributes a LOT to her development. dustin esp, considering … he’s kind of become a part of her backstory, now. he’s integral to soda’s sadness, as is the lack of closure both of them got, and i love love love exploring heartwrenching hurt like that.

peter’s is difficult to pin down since…we never quite finished plotting, and what HAS been done so far is all prior to soda’s reveal as Agent 3 (in that verse, he’s the reason she reveals it at all). but it’s a chance to talk about soda’s nerdy aspects, and i’ll take that as much as i can! soda’s arc w him confronts the same issues, but backwards, as navarre’s, and it’s fun seeing how i can achieve the same arc. and ofc i love soda and navarre — it’s such a steep step out of soda’s comfort zone, and their relationship arc is satisfying and natural; it’ll be nice to see what’ll happen if soda’s proper adoration is reciprocated for once.

and though neither of them are romantic, soda and bon and soda and octavio (at least, @takoruler‘s) are wonderful explorations of each character involved — good examples of enemies to (kinda) friends. soda wouldn’t be soda without either relationship, tbh. i could go on for ages about both but this is so long send help

as for ships i want to see happen, i want opportunities to explore the still-dark facets of her — genuine hateships where soda doesn’t consider kissing them too, or would have unabashed delight in killing them. relationships where she has to negotiate and be the bigger man, relationships where she’s the mentor and others where she’s being mentored, tentative business partners, isolated and abandoned childhood friends, characters that grate on her until she snaps, characters she resents for no good reason and has to get over, characters she teases or looks down upon with that old insufferable air. i want them all combine them just give me chars w strong personalities pls

[orbularborbular]

My Thoughts on The Last Jedi

Spoilers below the cut! Do not read this review if you have not seen The Last Jedi! You have been warned!

[And please, kindly remember that I'm just another idiot on the internet with an opinion. I'm not trying to change anyone's mind with this review…I'm just sharing my reaction, because none of my friends are online while I’m writing this and I need to mouth off to somebody.]

Okay, so – analysis time. The way I see it, there are two main narratives in The Last Jedi. I loved one of them, and I hated the other.

Narrative #1 deals with The Force™ . Naturally, it contains the classic Star Wars themes of tragedy, forgiveness, and redemption, but it adds depth and nuance to these ideas in a couple of ways. It explores the importance of human connection, and it underscores the power that each individual possesses to determine their own self identity, and with it, their fate. The writers made the inspired decision to take the struggle between Light and Dark and externalize it – make it into an actual, literal conversation between two people: Rey and Kylo Ren, with Luke acting as the tormented mediator. Mark Hamill just knocked it out of the fucking park with his performance too – what an amazing conclusion to Luke's story.

Narrative #1 acknowledges the flaws of Jedi doctrine and provides a simple, brilliant explanation for one the biggest questions left over from The Force Awakens: why did Ben Solo turn to the Dark side? The revelation that Luke drew his lightsaber on Ben in a moment of weakness, only to recoil in horror at his own impulse, casts Kylo Ren in an entirely different light. Ben truly believed that Luke meant to kill him – and what troubled teenage boy wouldn't develop emotional issues if he thought his uncle were trying to murder him in the dead of night, especially when he was already under the influence of an evil CGI freak? (On another note, can someone explain to me why Snoke was wearing like, a gold bathrobe? What the hell kind of aesthetic is that?) Luke's culpability, however minor, heightens the tension in the conversation between Rey and Kylo Ren, because it makes him a more sympathetic villain. Suddenly, his rage and hatred make sense. Luke's shame and self-imposed exile make sense. Everything makes sense. The relationship that emerges between the three characters is believable and emotionally satisfying, even if Kylo Ren does make the decision to be a punk bitch in the end. But man, that fight scene where he and Rey are fighting as a team? Top fucking notch.

Narrative #1 works because it establishes cause-and-effect, and because it gives each character a complete arc. Past trauma motivates all three of the central figures: Kylo Ren, Luke, and Rey each have to contend with their own personal demons and choose whether to rise above them, or succumb to them. Their parallel struggles give the movie a sense of cohesion and suspense. Their decisions matter, and those decisions aren't necessarily foregone conclusions, because all three characters have the power to influence one another. Luke chooses to accept his past mistakes and to reconnect with his old comrades; in doing so, he is finally able to achieve the absolution and peace that have eluded him for so long. Rey refuses to give in to her feelings of loneliness and abandonment; instead, she uses the empathy derived from those painful experiences to try and reach out to Ben Solo. Kylo Ren rejects Rey's attempt to connect with him because he is either unwilling or unable to deal with his own trauma. He stubbornly pulls away, and ends up more miserable and broken than ever.

I simply cannot gush enough about how much I loved this whole storyline. Writers take note: this is how you create compelling character drama. The stakes were personal and emotional, but they also had larger ramifications. The imagery and cinematography perfectly complemented what was going on in the narrative, too. Like that scene where Rey saw herself cascaded out, row upon row upon row? Holy crap was that an insightful visual metaphor for the concept of self-identity. And can we talk about the red salt on the snow during the final showdown? How it smeared when stepped in, like blood? That shit was amazing. Luke's confrontation with his nephew was the perfect conclusion to their relationship, and the best possible send-off for Luke. He went out on his own terms, as the ultimate Jedi master: cunning, heroic, and self-controlled, able to own up to his mistakes without being destroyed by them.

Now, on to the part of the film I hated. :(

Narrative #2 is The Little Guys vs. Big Evil™. The themes of this narrative are courage in the face of impossible odds, and the wisdom to know when to make sacrifices. Unfortunately, there are two major problems with this half of the plot that weaken the impact of these themes. The first problem is that there is ZERO world-building in these new movies. None. Zilch. In the original trilogy, the lack of backstory was not a problem because we were thrown directly into a reality where an oppressive autocratic regime was already in power. The audience could accept that these fuckers were genocidal and that a ragtag group of rebels was fighting them, because Episode IV was a blank slate. The conflict was straightforward enough that we could just run with it once it was introduced. But the new trilogy is NOT A BLANK SLATE. The film needed to explain how we got from the events of Return of the Jedi (where the Rebels had just won a major victory, the Empire was reduced to a shadow of its former self, and the threat of pan-galactic annihilation was no more), to “oh yeah, everything is a shitshow again”. What the hell happened during the intervening 30 years? How did the New Republic fail so catastrophically that the First Order was able become such a threat? How did the Imperial Remnant get its hands on that much firepower and manpower without like…anyone noticing, or stepping in during the nascent stages? Where the fuck did this Snoke guy come from, and why is his name so stupid? The movie fails to explain the chain of events that led to this new status quo. It doesn't even hint at it. We get no new information about the conflict at all; instead, we spend over an hour stalling while Finn and Rose do their thing.

Speaking of which... The second big issue with Narrative #2 is that it does not utilize its protagonists correctly. Poe gets some development, but Leia, Finn, and Rose Tico do not get character arcs. They do not change in any meaningful way as a result of what they go through. Leia in particular is static throughout the film. Sure, she spouts a lot of platitudes about hope, but we never get any real insight into what's going on in her head. Is she frustrated that she has to fight the exact same war she already fought in her youth? Does she feel guilty for failing to foresee and prevent the rise of the First Order? How has she been damaged by her personal losses, most notably the murder of her husband at the hands of her own son? The script just gives her nothing to work with. No pathos, no pain. She spends half of the movie in a coma, and the only time she gets to use her Force powers is when she's like...magically levitating through the vacuum of space (I call bullshit on that, by the way). Her only real moment of depth is her reunion with Luke. I think maybe the writers intended to put her character arc in the third movie, but uh...that's not gonna happen now, since Carrie Fisher drowned in moonlight, strangled by her own bra.

Finn, meanwhile, spends the entire movie on a wild goose chase. Sure, the casino planet was cool, but you could cut out that entire subplot and its absence would have no effect on the rest of the movie. The writing here frustrates me SO much because the character problem is SO EASY TO FIX. Here's how you make it work: from the get-go, the movie sets up an ideological conflict between Poe and Leia. Poe wants to blow shit up, while Leia favors a more cautious, big-picture approach. However, instead of following through on this conflict and forcing them to hash it out, the film fridges Leia and sets up purple-haired Laura Dern as Poe's foil. This decision baffles me. Leia is Poe's hero; he admires and respects her. Imagine how much more compelling it would've been if he had to make the gut-wrenching decision to pursue his own approach behind her back instead. Leia vs. Poe is a conflict with higher stakes. We care about both of these characters, and we can see both of their perspectives. Pitting the two against each other ideologically (but with no malicious intent), creates the opportunity for both of them to grow and change.

Here's how you fix Finn's subplot. Make his expertise on the First Order matter by allowing him to be the one who realizes how the flagship is tracking the Resistance through hyperspace. Have Finn reveal this information to Poe (it would make sense for him to approach Poe, because of all the people on board, Poe is the closest thing Finn has to a friend). The two of them decide that an infiltration job is in order. Poe calls Maz for guidance, and she recommends a slicer for the job. Because Poe is currently in conflict with Leia and the rest of the leadership, he sends Finn on a mission to retrieve the slicer in secret. Finn is thrown into a completely alien environment, and it proves to be a real learning experience for him. He sees the stark contrast between the ostentatious elite and the impoverished downtrodden, and his innate love and compassion begin to expand beyond just Rey (I still don’t understand how the First Order is responsible for the mistreatment of the children on casino planet, though. Isn’t the real oppressor like...late stage capitalism? lol).

Of course, he parks like an idiot, so he ends up getting thrown in jail before he can make contact with Maz's slicer. It's here that he meets Rose Tico for the first time. In this version, SHE is the chaotic neutral slicer with the longcoat and the air of charismatic unpredictability. Finn, desperate to escape, strikes a bargain with her. Initially, she only agrees to help him for the money, but as the film unfolds, we learn more about Rose. We discover that her sister died fighting the First Order some months or years before, leaving Rose jaded, aimless, and self-centered. Over the course of the third act, however, Rose sees something in Finn or in the Resistance that makes her reconsider her outlook. Perhaps Finn's fight with Phasma plays a role. She ultimately decides to honor her sister's legacy by taking up her mantle, and she joins the fight against the First Order. By condensing Rose Tico and the hobo-slicer dude into a single person, you create a character with a complete arc, and you create a subplot that matters. When Finn's attempt to infiltrate the enemy ship ultimately fails, it doesn't feel like a complete waste of time, because at least the Resistance gains a badass swaggering scoundrel of a slicer. A character that fucking cool should not be wasted.

A couple other quick fixes. You know the scene where purple-haired whatserface uses a hyper-speed jump to slice clean through Snoke's ship? It's one of the most visually arresting and memorable scenes in the film, but on an emotional level it's underwhelming because we literally just met the woman. Why not keep Admiral Ackbar alive a bit longer so he can be the one to make the iconic sacrifice? The audience already cares about him, so when he goes out in a blaze of glory, it packs a much greater emotional punch (plus, can we give an alien character a chance to shine for once? I'm so sick of all the humans). Back to Finn and Rose. For the love of God, please get rid of the awkward romance shoehorned in at the last minute. What you mean you “love” him, woman? You've known the dude for like two days! I mean, criminy. Rose Tico's character arc needs to be about coming to terms with her sister's death. Poe should be the one to save Finn by bashing his ship aside, because Poe is the one who's supposed to be learning when to sacrifice lives, and when to save them.

Anyway. As you may have guessed from this review, my feelings about this movie are super complicated. The humor was great, the visuals were atmospheric and creative, and the majority of the acting was fantastic. Every time Luke, Rey, or Kylo Ren were on screen, I was on the edge of my fucking seat. I was completely invested in their narrative and could not have been more satisfied with its conclusion. I was, however, sorely disappointed with the way the writers handled the conflict between the Resistance and the First Order. It could have been so, so much better. It deserved to be better, in a script this good. And honestly, maybe the reason I was so disappointed is because that's my favorite part of Star Wars: a ragtag bunch of miscreants scraping by on the strength of their camaraderie. The jump cut from Return of the Jedi to "everything is shit again" makes me feel like the initial Rebellion accomplished nothing. Like it was all for naught. I'm sure I could go digging for the full story in the supplemental materials and fill myself in, but like...it should've been in the movie. There's no reason why you can't devote five minutes to a little explanation.

Maaaaan. I get WAY too worked up about these things.