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why are star wars planets more boring than earth and our solar system like sure we’ve seen desert, snow, diff types of forest, beach, lava, rain, but like… 

rainbow mountains (peru)

red soil (canada/PEI)

rings (saturn’s if they were on earth) 

bioluminescent waves

northern lights (canada)

salt flats (bolivia, where they filmed crait but did NOTHING COOL WITH IT except red dust?? like??? come ON)

and cool fauna like the touch me not or like, you know, the venus flytrap.. and don’t get me started on BUGS like… we have bugs cooler than sw aliens

BASICALLY like???? come on star wars you had one (1) job where are the cool alien species

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What is dat *aggressively scuttles* 

(via)

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I’m gonna give the audience (me) everything they want @wellfine‘s comics are just too good and inspired me to draw this one 

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The Captain & First Mate ☠️

INSTAGRAM 📷

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Writing Female Characters

Anushia Kandasivam: So, Brandon, you just introduced a really amazing female character [Spensa] to us. Your female characters throughout all your books are resourceful and independent. Some of them are leaders, some of them go through very interesting journeys of growth and self-discovery. Some of your female characters, like Vin and Sarene, they have mentors and teachers who are men, but their decisions about who to be and what to do are always their own. They always have agency. Was it a conscious choice to write these female characters and their journeys like this, and can you tell us if the process was easy or difficult?

Brandon Sanderson: So, there are a number of different responses to this. One is, I came into fantasy by way of some excellent female novelists that I highly recommend. Barbara Hambly was my first experience with fantasy, and then Anne McCaffery, Melanie Rawn, and Jane Yolen were kind of my introduction to fantasy. It's how I got pulled into it. To the point that when I was first given a David Eddings book, I was hesitant, because I was like, "Is this a genre guys can write?" was my honest reaction to that.

So, when I started writing my own books, I knew I wanted to do a good job with this, but I was really bad at it at the start. It was very embarrassing to me as a writer. And this happens to all new writers. There are things that you want do that, in your head, you imagine yourself doing very well, and then when you start out, you just do poorly. And the later in life that you start writing your stories, the more you're generally able to recognize how poorly you're doing things that you want to do well. And my very first book, that I didn't publish, particularly the female lead was very generic, and written very much to fill the role of love interest rather than to be a character. And I recognized it, even as I was writing it, but I didn't know how to do it differently. And it took practice. It took a lot of work. It really shouldn't, on one hand, right? Write the characters as people. rather than as roles. That's what you have to learn is - everybody is the hero of their own story in their head. They're the protagonist, whoever they are. And writing the characters so that they view themselves that way, and so they have autonomy, and they aren't being shoved around by the plot or by the protagonist, or things like this, but it's just very hard to do. I had a lot of early readers who were very helpful. I often credit my friend Annie as being one of the big reasons why Sarene eventually ended up working in Elantris. And she gave me some early reads, and things like this.

But, you know... it is hard to abandon our own preconceptions that we don't even know are there without practice, effort, and somebody pointing them out to you. And it was just a matter of practice and trying to get better. And I still think that there are lots of times I get it wrong. And you mentioned Mistborn. And I was really determined that I was going to do a good female protagonist. I try to stay away from the kind of cliched term "strong female character." Because we don't talk about "strong male characters."

We talk about characters who are distinctive, interesting, flawed, and real people. And I was determined to do this with Vin. And I feel like I did a pretty good job. But, of course, I had a completely different blind side in that I defaulted to making the rest of the crew that Vin interacts with all guys.

This is because my story archetype for Mistborn was the heist novel, the heist story, and my favorite heist movies are Ocean's Eleven and Sneakers and The Sting, and these are great stories. I absolutely love them. But they all are almost exclusively male casts. And that's not to say that, you know, someone can't write an all-male cast if they want to. But it wasn't like I had sat down and said, "I'm intentionally going to write an all-male cast." I just defaulted to making the rest of the cast male because that was the archetype that was in my head, that I hadn't examined.

And so, when I got done with those books, I looked back, and I'm like, "Wouldn't this have been a better and more interesting story if there had been more women in the cast?" And I absolutely think it would have been. But becoming a writer, becoming an artist, is a long process of learning what you do well, what you do poorly, what you've done well once and want to learn how to replicate, what you've done poorly and want to learn to get better at. It's a very long process, I think, becoming the writer that we want to be.

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Okay so I could definitely do with some more queer rep from Sanderson but I will say that I love the richness and complexity of his characters and the fuck that they almost all say ‘fuck you’ to writing gender roles. 

‘Strong women’ doesn’t mean ‘woman punches loads of things and is badass’ it means a rich variety, of complex women who are each strong in their own way.

 Vin, the street-urchin and constant survivor, whose strength comes as she grows and actually learns, in so many ways, to outgrow that ‘strong woman’ archetype. She learns to be soft. She learns to embrace her feminine side. She learns vulnerability, and love, and trust, and she grows into a better, stronger person for it. 

Marasi who finds her strength in knowledge, and in loving herself for the things she can do, instead of loving the idolised version of herself who has all the things she wishes she could do. Who learns to stop revering and living in a man’s shadow, and steps out to cast her own. 

Steris who is a canonly autistic woman who is never forced to be ‘normal’, in any sense of the word. The characters around her learn to read her, to understand her, and they fall in love with the woman that she is because of her quirks, because of her differences, because of her autism, and not in spite of it. 

Shallan who was a sheltered, naive young abuse victim, with very obvious PTSD and anxiety who has undergone an incredible, uneven recovery journey. She has found herself, her voice, her independence, and her agency. But she is also learning how to accept what has happened to her instead of hiding from it, to heal and grow while retaining her wit, her drawing, and her smile. 

Jasnah who, frankly, couldn’t care less about people’s expectations when it comes to her. Her mind is her own, and her strength comes from knowing herself, and refusing to compromise that self even when it goes against her entire culture and society. A woman who presents a composed, cold, blunt face to the world and is allowed to, and is never undermined or ‘thawed’. She is who she is, and that’s final. 

Navani as a mother, a wife, a lover, in many ways the embodiment of traditional roles for a female character over a certain age. But she’s also a scholar, an engineer, an inventor, a visionary. A woman who knows what she wants, and inevitably finds a way of getting it. A woman who has deep loves and passions, and pursues them, but never loses sight of the merit of logic and order. 

Vivenna, who grew up with the knowledge that she was to be a sacrifice for her people, that her pain and happiness were as nothing compared to her duty. A woman who grew up with deeply rooted prejudices, and a naive, ignorant view of the world. She grew up, she learned her own mind, and followed it to the ends of her earth and into another, where she came to lead men in battle in a notoriously misogynistic/gender-role based society. 

Siri the dreamer, the free spirit, who learned that she didn’t have to be like her sister, and didn’t have to ascribe to the things expected of her to have value, and worth, and power. Who becomes a queen in her own right, and matures into a powerful woman who refuses to accept life on any but her own terms. 

It’s a common enough critique that female characters get stuffed into one mould that’s described as ‘strong’ and that’s it. Which is almost as limiting and stifling as the traditional expectations of female characters. But tbh I love what he does with his male characters and the complexity and rejection of typical masculinity there, too. 

Elend who grew up under the thumb of an abusive father and an oppressive system, but still had the softness, and the hope to dream of building something better. Who was more than comfortable having his wife protect him, and having everyone know that, who took pride in Vin, without ever once having it be hinted as some sort of slight to his masculinity. Who was able to accept the correction and guidance of another woman everyone else scorned and ignored who helped shape him into a better king, and a better man. 

Sazed who was portrayed both as the gentle, reserved scholar, but also a rebel and an instigator, who went against his people to build a better world. Someone who was presented as rational, and calm, and arguably nonbinary, and mostly shuns pretty every typically ‘masculine’ trope in the book. 

Kelsier who had the fairly typical ‘dead wife, revenge plot’ story, but that was explored in a thoroughly atypical way tbh. A man full of darkness who insisted upon fighting with a smile, and encouraged others to do the same. Cocky, and arrogant, and selfish was balanced by a little flash of sentiment, the hope for a new world, and the picture of a flower he carried with him to remind him what they fought for. 

Adolin who’s regarded as one of the best swordsmen in the world, but who talks to his weapon before battle and thanks it for serving him. He wears his mother’s necklace as a good luck charm in battle, and goes against cultural expectations by being physically affectionate with the people he loves. Also has a keen interest in fashion he refuses to be ashamed of, and while his actions characterise him as a womaniser, his thoughts/behaviours display his dissatisfaction with that, and his desire for stability. Also very emotionally aware of those around him, and takes care to look after them when he reads them being in trouble. 

Dalinar’s honestly fascinating journey from a bloodthirsty, violent soldier, to a depressed, traumatised alcoholic, to a struggling general, a hero of mankind, and then again struggling with PTSD is honestly so well-written. This man is literally a military legend, renowned for his prowess in war and we see him, in the course of the series: give away a legendary blade that is literally more valuable than kingdoms for the lives of a group of slaves, and consider it a genuinely good deal as he’s learned that all lives are precious. Struggle with very obvious flashbacks and panic attacks as a result of war trauma. Meekly align himself with distinctly feminine things to quietly support his son and stop him feeling awkward. 

Renarin, who is a canon autistic character, who cannot be a soldier in a distinctly war-driven society, and is allowed to explore that, to feel bitterness and frustration with his condition. But who is also slowly starting to learn, with the support of his family, that there are different kinds of strength, and that they love him and are proud of him even if he can’t march into battle at the head of their armies. Who is allowed to stim openly, who is largely accepted for his differences, and is defended fiercely on the occasion that he’s not. Who is a goddamn super hero in this world, and is a massively progressive piece of honest autistic representation, in which he is not a character with autism, but an autistic character. 

Kaladin who is honestly one of the most visceral, honest portrayals of depression I’ve seen in a fictional character. Who still, three books on, suffers from depressive episodes, who acknowledges that this kind of thing sometimes doesn’t just go away, or get better, that it’s always there, somewhere, and he fights it, and keeps fighting it, with the help and acceptance of those around him. Who is also a goddamn super hero who is warned by his surgeon-father that he’ll have to grow calluses, that he can’t care so deeply about his patients. Who becomes a soldier to support his younger brother, and tries to strike the balance between killing and protection, and to deal with his soft heart that has never truly hardened. 

Male characters that have genuine, honestly explored mental illnesses, insecurities, and who are frequently depicted crying, and otherwise being allowed to freely show and explore their emotions and honestly, i could say a hell of a lot more but this is quite long enough so that’s enough of that.  

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best bungo stray dogs character design, in my opinion.

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Fave Touken moments

(In no particular order)

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They’re so adorable 😭

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TG/re: Parallel covers

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I’m not sorry

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… I cannot go on living now unless I cling with all my force to love.

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His name is Ishida Sui

I’m sorry for this

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from ishida sui’s twitter (x)

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Tg:re Volume themed Chibis part 2 \(◍•ᴗ•◍)❤-! part 1 here (x)

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I don’t know how this got a thousand notes, all I can say is y’all are trash like me and we’re in this can together

I’m sorry for this