#like what areas would get cut how the episodes would be formatted plots that would be enhanced and how to show it all visually

[beepboopbopping]

that was fucking incredible

also god the artists and animators did such a fantastic job holy shit i would kill to see an animated show of this

[hyrule-kingdom-updates]

writing question: how do you structure each arc esp in terms of the grand story? i’ve tried to write big fics before but despite my dramatic plans for the beginning and end, i only have overarching ideas for in between with no clue abt the nitty gritty. how do you turn “x should develop across the story”, “y should be foreshadowed early on” etc. into a proper series of events?

BIG SPOILERS FOR HKU UNDER THE CUT

Ok so first, pretend you are writing the shortest fic in existence. That way, you lay out ONLY the most essential features of your main plot.

Then lay out ONLY the essential details that connect these important plot points

That’s pretty much the basics of what you need to figure out before you start anything else. If you don't have that figured out yet, work on that before anything else.

So the inbetween stuff is basically how you keep the audience intrigued between these parts of the story. You can use different plot points or "twists" to create a system of highs and lows, like a wave. That way, the story is dynamic, people are interest, and it's not boring.

It’s not about being unpredictable, but you just gotta go through trial and error with finding out where to place what details when, so that you can have adequate pay off. 

Generally the rule of thumb is, the bigger the ultimate reveal, the earlier on you should lay clues and foreshadowing. Obviously try not to do it to a point where it’s too obvious, as the tool of a plot twist is mainly to get the reaction of “I SHOULD have seen that coming, but I didn’t!” instead of “I would NEVER have seen that coming!”

If you got all that, just place it in your brain for later as we add more to our little diagram.

So let’s structure where we place our “plot twists” and important beats. These have to be essential to connect your bigger plot, or developing one of your character, otherwise they’re just useless and you should cut it. I’m gonna start with the stuff that affects the plot. (Again, trying to be as simplistic as possible.)

So these beats in the story are essential to connect the main plot points, if you take them out, it doesn’t make sense. The specific cosequences for these “plot twist” are the connective glue that you wrote down earlier. For example, the consequence of Siv protecting Zelda is him solidifying his trust and love for her in that moment, thus his relationship with her develops him into a caring protagonist. The consequence of Zavis being revealed as a spy is Siv starting to question the relationships he’s made, and they start to break down over time. The consequence of the fourth tie being revealed is that it leaves the only intact and ultimately consistent relationship in Siv’s life to be Calamity canon.

Also you might notice that I redaced one of the plot twists for spoilers. BUT, I think this is a good moment to point out that you don’t necessarily need to reveal the information that your characters learn as they happen, because I think setting up forshadowing for the twist itself AFTER it happens can be pretty interesting. The reader knows that something has happened, but now the mystery of exactly WHAT it was can drive the plot further. Anyways.

You have these point, and now you have to figure out what to put inbetween. Again, you have to create highs and lows, and general your twists are your highs (points of extreme action and tension for the reader), so now we establish your lows (points of comedic relief and relaxation for the reader).

But, SURPRISE! You already did that! Your lows of the story are determined by the areas inbetween your plot twists!

Now if you don't like where your highs and lows are, that's alright, you can move stuff around, again it's a process of trial and error. But the name of the game is pacing, but that's like a WHOOOOOLE OTHER essay about how to pace things, but we're here for deciding where to put arcs so we'll just breeze by that right now.

You also might notice in my badly drawn diagram that the height of the crests of each wave are different, and you'd be right to notice that. It's because I'm assigning a sort of "value" of each plot twist, as as the writer I know how important the impact of wave one is. Generally the rule is the further along you go, the more value ro tension a point has to offer. It'll kinda look like those five act structure graphs your english teacher showed you in fifth grade.

So now FINALLY, you can get a general sense of where to have arcs in your story.

Not every arc is gonna be the same, that's just a given, but you can get a general sense of where certain arcs are based on what you made.

Maybe if you're going for a lighthearted tone, you want every arc to start on a low, and end on a low, like an episodic format. Or maybe if you're going for a tone that's more serious or myserious, you'll be more prone to end arcs on highs. You can problem guess which one I lean more towards.

Quill Boys and co arc: Start on the low of Siv and Zavis hanging out, being pals, end on the high of Zavis' reveal as the spy

A lark flies into the woods arc: low action as Siv and Astor talk, the high of Larc's decision is revealed.

Hollow knight but not that hollow knight arc: The tension continues to rise in the battle, and then a low after the battle is won, but then the high of Link's truth is revealed.

That's how I write my arcs, but sometimes depending on where I want the tone to be, I'm stretch out multiple low-high-low arcs to give the reader a break. But you'll notice as we approach closer and closer to the climax, the frequences of the waves increases, and the length of the breaks decrease. So when that happens, you might need to break your arcs in highs and lows that art part of a bigger wave, similar to how i did #a lark flies into the woods and #Hollow knight but not that hollow knight.

For another example of breaking up arcs to show part of a wave, I did #sibling fights hollow knights and destiny rewrites and #long ago and long away, with the "high" of Zelda's plan being what splits them down the middle.

AGAIN. THIS IS ALL TRIAL AND ERROR AND WILL NOT WORK FOR EVERY TYPE OF STORY. THIS WORKS FOR ME BECAUSE MY STORY IS BASED ON THE IDEA OF UNSEEN INFORMATION AND ULTIMATELY BEING "UPDATED" ABOUT IT, SO THE REVEAL OF INFORMATION PROVIDES A CONCLUSION TO AN ARC

BUT JUST ENDING AN ARC WITH A PLOT TWIST DOES NOT AUTOMATICALLY MAKE IT GOOD. TRUST ME I'VE MADE THAT MISTAKE SOMETIMES [BUT I AM ALSO STARING INTENTLY AT TV SHOWS LIKE SHERLOCK AND LIKE 60% OF DISNEY]

Now, on that final point about foreshadowing. Let's look at those values again?

So, the more impactful you see your plot twist or development, the earlier you should set it up (generally, anyways. there are exceptions)

This is an example for the Zavis, Zelda, and Fourth Tie twists. I value the fourth tie as the highest, so I establish it subtly very early. I also value Zelda's plan as pretty high, so I establish Terrako pretty early, and her reveal gives an explanation as to why she's so focus on fixing Terrako, and also explains her reaction to Zavis' reveal. Zavi's twist is important, to who he is, so I set him up right by his first introduction

Link's twist is important, but I personally wouldn't value the tension and high of it as much as Zavis'. In addition, I already have a long establish plot twist revealed with Zavis, so I think I want to surprise my audience a bit more by foreshadowing Link's tie only a few arcs before the reveal. Astor's impact is almost better if there's nearly no foreshadowing to him at all, (especially on a meta level) so I think I'll make one off hand mention to him existing and leave it at that.

I think for the most part, the more impact the event has on the development of your story/character, the earlier on you should foreshadow/hint at it.

And I breezed by a lot of shit, like I didn't even TOUCH the character related twists like Sooga and Revali. And there's shit about pacing and timing and conclusions and beginning to arcs and their relations...but I think that's a good enough starting point for your ask.

So keep your arcs dynamic do follow the highs and lows of your story. Make sure they end conclusively (cliff hangers are ok, but don't assume a plot twist in of itself is a conclusion) and foreshadow shit earlier depending on how big of a twist it is

[adamrevi3ws]

Jedi: Fallen Order

When I finished playing DOOM, I told myself that the next game I would play wouldn’t be one that pissed me off. Unfortunately, Star Wars: Jedi: Fallen Order did not live up to those expectations.

While the source of my frustration with DOOM was mainly growing pains with its intense gameplay and action, Fallen Order mainly drew ire from me due to its unfinished and unpolished nature. Its publisher, EA, is in the same club as Ubisoft, Bethesda, and apparently now CD Projekt Red, often releasing games as broken glitchy messes when they first come out to meet quick deadlines. I’ve seen and heard how unplayable this game was at launch, and while it isn’t as bad as it was then, it still has enough subtle mistakes to ruin my gameplay experience. The main source of this and my frustration, in general, was the extremely finicky and unresponsive controls, particularly found in its two main selling points: platforming (and plot but I’ll talk about that later) directly lifted, if not plagiarized from the Uncharted games, and Dark Souls-esque combat gameplay. Nothing really lines up or “clicks” when it really needs to. Regarding the platforming, it feels like it takes a miracle to properly grab onto something and takes a thousand tries for a jump to work. When the double jump gets introduced, it really only works when the game, in its divine ignorance, feels the whim to let it work. A lot of reviewers complained about the difficult and unwieldy ice slide sequences in the game, and while I had my fair share of annoyance on a very specific ice slide, I think it’s just a symptom of a much larger problem. The combat shares this similar “the game only works when it wants to” problem. You don’t always dodge or block right when you want it to, but I think its biggest problem is healing. Instead of pressing a button and having part of your health restored, pressing said button instead “calls” your robot companion, which needs to do a special little animation and THEN you get healed, which takes a long 15 seconds. Not only does this waste a good amount of time in a game where time is absurdly precious in its hardcore combat, but every other time I tried calling the damn robot it straight up ignored me. I don’t know if this is a glitch, or it needs a cooldown period, or you can’t heal while being hit by an enemy, but it made the fights a lot more unnecessarily grating than they already are. Speaking of straight up screw you moments from the game, whenever I hit the “target” button in close combat with multiple enemies, it’d always target the farthest away enemy, for no reason. All of this is a shame because these main gameplay components are actually quite fun when they aren’t broken? A lot of the level design allows for really fast and exhilarating platforming that is absurdly fun when it syncs up, but that’s only, like half of the time. The combat can be enjoyable too, allowing for some great lightsaber duel boss fights, which can feel pretty cinematic when the combat actually works.

Outside of gameplay, the game’s unfinished nature shows itself a lot in its cutscenes. Its graphics just straight up dip and fail to fully render for 90% of these moments, often also feeling extremely choppy and cutting off a bit too soon. There was even one time an enemy was supposed to show up in a cutscene to initiate a boss fight but they just weren’t there and it was quite confusing because it felt like the main character was speaking to an empty wall. Around the middle of the game, both cutscenes and gameplay sequences would just freeze, and this is probably the first game I’ve played in a while to straight up crash on my PS4. If the developers took an extra, idk six months to actually fix this game a bit more I’d rate it a lot higher than I am now. I was actually warned about the game’s poor performance before playing, with a friend mentioning its horrible load times, but I didn’t know it’d be this bad. As my unopened copy of the infamous Cyberpunk 2077 waits on my mantlepiece for the developers to actually make it a playable game months after its release, I fear it may have the same fate as Fallen Order, still being quite a bit buggy and annoying over a year after its messy launch.

With its buggy and incohesive gameplay in mind, Jedi: Fallen Order’s strongest element is its plot. To my surprise, this is much less of a Star Wars game and more a game that just happens to be set in the Star Wars universe. Taking place between episodes 3 and 4, I kind of expected it to be an epic quest detailing the rise of the rebel alliance, but instead, I got a more generic treasure hunt storyline heavily reminiscent of the Uncharted series. Although this sounds quite disappointing, the game’s plot still soars in its great character arcs and setpieces interspersed the vague framework of its less-than-original overall plot. Combine these great individual moments with an absolutely bombastic ending and it almost makes trudging through the glitchy gameplay worth it. This is elevated by some great voice acting performances, particularly from Cameron Monaghan, who gives a movie star performance to the main character, even in a lot of moments where he doesn’t have much to work with. The setting is also a high point. Disney’s milking of Star Wars has led to a variety of media set between episodes 3 and 4, this game feels particularly special because it is more focused on the aftermath of Episode 3 rather than the buildup to Episode 4, which I think the rest of the media in this era is focused on. It’s clear that there are so many parts of the game that the studio put a lot of love in, ranging from the plot, to the memorable soundtrack (Mongolian throat singing, anyone?), to even the hilarious enemy dialogue, I just wish they put this amount of effort to make the game fully playable.

The one elephant in the room regarding this game that I haven’t mentioned so far is the game’s worlds/levels themselves. They aren’t annoyingly unpolished like the gameplay but aren’t really a labor of love either. Instead what we get is an admittedly gorgeous maze of areas within a few planets, constantly getting more twisty and confusing as you go on. It may visually resemble an open world, but it is very much a series of paths that make you go “hmmmm, should I go back to that other branching path to see if there are any healing upgrades or character customization options I can collect?” There’s nothing wrong about this MetroidVania style format, but frankly it’s not my type. A lot of the areas look visually similar so it’s quite easy to get lost, and despite each planet’s map being absurdly big, there’s no way to actually fast travel between areas, just between planets. Finally, the incentive to go back and explore isn’t particularly convincing, where the healing upgrades are a bit too well concealed and the character customization options are like, absurdly mid. This is the one time I actually wished an EA game had its own in-game currency so I could buy something cooler than “the same damn poncho you’re wearing except a slightly less boring color combination.” Come on, man! The one good thing I’ll say about the overall game world is that the in-game map highlights which paths you haven’t explored yet, making it much easier to get on track. While the game’s maze-like level style isn’t necessarily my thing, I think if the developers tried to make it a bit more interesting a lot of people would get a kick out of it.

Jedi: Fallen Order is a game that finally made me understand my college professors that went a bit too hard on my grammar mistakes when grading papers. The central content and ideas this game presents have a lot of potential, but they’re heavily weighed down by an infinite number of fixable mistakes. I give this game a 6.7 out of 10 stars.

[ranma-rewatch]

Episode 8: School is a Battlefield! Ranma vs. Ryoga

Well, howdy there. I’m up to episode 8 of Ranma 1/2, the second episode of the introductory arc for the best boy in anime history, Ryoga Hibiki. Last episode gave us a general idea of who he is, but it’s this one where we’ll get to see him and Ranma actually fight, as the title gives away. I’ve said it before, but I absolutely adore titles like this. One time I was writing a fanfic for this series, and I won’t lie, making up similar styled titles for chapters was one of the best parts. So, excited to watch it, next paragraph I’ll have done just that!

That...was kind of disappointing. I was really looking forward to this episode, and while there was a ton of stuff I really enjoyed about it, there was a lot I did not care for in the slightest. But before I talk more about that, I’ll do my recap.

Though there is a bit of an issue there, too. About half or more of this episode is Ranma and Ryoga fighting. I’m recapping the episode to you in a text-based format, so going blow-by-blow to describe every move of the fight would be pretty boring, I’d imagine, even if a lot of what happens is actually really great and ties together well. But on the other end of the spectrum, a lot of the plot momentum in the story is carried by the ebb and flow of the fight scene, so just glossing over it wouldn’t work either. I’m going to try for a middle path, but I apologize if I don’t stick that landing.

The episode starts at Furinkan High School, in the middle of the night, as the school’s Chemistry Club is secretly meeting to put their finishing touches on an...explosive mine? Which then blows up? I’d love to tell you this makes sense later...but it does not.

We cut from there to Ryoga, who is dramatically monoguing about how badly he wants to kill Ranma. NEXT SCENE. At the Tendo Household, Ranma and Akane are discussing again why Ryoga wants to beat Ranma up so badly. He’s still confused, since he was sure it was because of the bread. Speaking of Ryoga, Kasumi shows up to deliver a letter that arrived from Ranma, from his rival. It’s a letter of challenge, but the date on it was the day before. Ranma doesn’t think that’s a problem though, considering Ryoga’s relationship with timeliness. To accentuate that point, we get a small scene of Ryoga misunderstanding someone’s directions and going the wrong way, again.

The next day, in what looks to be between classes or during lunch or something, one of Akane’s friends comments on how long her hair has grown out. Akane notes in narration that it’s “finally” longer than Kasumi’s, to really connect the dots we see she’s thinking of Dr. Tofu. But there’s no time for that, Ryoga is back again! In the sports field! While sports are going on! He gets knocked out by a stray ball, but in no time Ranma is down there to fight him, and most of the school has gone down to watch.

Nabiki and her henchwomen, which she has apparently, smell an opportunity, and organize a betting ring on the fight. There’s some brief banter between Ranma and Ryoga, during which it’s revealed it’s actually been a month since the last episode and Ryoga ended up on Okinawa while lost (meaning he’s now been to all four of Japan’s main islands), but then the fight finally begins. Ryoga starts by mainly using his umbrella, and Ranma sticks to dodging.

From there, we get a few audience cutaways. It turns out everyone put their money on Ranma, so Nabiki realizes she’ll need to do something to make sure Ranma loses and she doesn’t lose a ton of money on the bets. The Chemistry Club shows up, and they realize that if Ranma dies, they’ll have a chance to...do something to Akane they never clarify, but is implied to be somehow taking ownership of her. Yeah.

Back to the fight, Ryoga tosses his umbrella at Ranma as a distraction, then pulls out a length of wire and throws a handcuff onto Ranma’s wrist. Now they’re chained at the hand, so they’ll have to fight close quarters, which favors Ryoga more. The umbrella ended up landing near the audience, and some of them try to lift it, only to realize it weighs an incredible amount. Even Akane, who is quite strong, can barely lift in less than a foot off the ground. Realizing that Ryoga’s been carrying this monster of a weapon with one hand this whole time, seemingly with no difficulties, Akane tries to warn Ranma that his opponent is far stronger than he seems.

We cut from there to a student running to see Kuno, and let him know Ranma is fighting some really strong guy who seems to be around Ranma’s level. Kuno claims he is “meditating”, which turns out to just be looking at posters of Ranma in his cursed form and Akane while trying to decide if he likes one more than the other.

Ranma finally decides to take this fight seriously, and uses Ryoga’s trick to his advantage by tangling Ryoga into being grappled, with only one hand to use and Ranma sitting on his back. It’s a great move, but Ryoga is in fact so strong that, with one hand, he can throw both of them dozens of feet into the air, where they start fighting mid-air. That was a miscalculation on Ryoga’s part though, as Ranma is basically built for air juggling.

They end up outside the initial fighting area, right where the Chemistry Club hid a bunch of their explosive mines. They don’t blow up as they’re stepped on though, and after several gags they end up trying to beat up Ranma by jumping out with mallets...right as the fighters dart away for somewhere else, setting off their mines and blowing themselves up. And that was the last anyone heard of them. I guess they’re actually dead. It’s canon now.

Nabiki runs after Ranma and Ryoga as they leave the school entirely for their fight. They’re just on some random street of the city now, and the handcuff tether broke as they left the filler characters behind. Nabiki approaches Ryoga as they’re fighting, offering him what she claims to be a steroid, but is actually just some vitamin pills. Ryoga takes them anyway, and with that plus Nabiki’s thorough encouragement, he acts as though he’s suddenly far stronger. Thanks, Placebo Effect! In fact, he lefts a cement telephone pole out of the ground and uses it as a melee weapon. Amazing.

Ryoga chases Ranma through the city and into the zoo, where some animals are let out from the carnage of their battle. By this point, Ryoga is getting tired of Ranma running away all the time, and says he’s acting like a girl. That hits Ranma’s Berserk Button, and he starts fighting back, breaking the weaponized piece of public property and several other things just as the other students start arriving to keep watching the fight.

The only problem is that A) Ranma broke a water fountain, making it spray water everywhere; B) Ryoga dodged the water using his umbrella, but Ranma got splashed and his curse activated; C) Ranma’s favorite shirt was slashed in the chest area earlier, meaning now parts of his breasts are showing. Ryoga is confused for a second, and Ranma actually gets really emotional, making it clear how much he hates his curse, how much of a struggle living with it is. From Akane’s face in the background, she finds it a bit overwrought. Kuno also briefly shows up to leap at Ranma, only to be taken out with a kick.

If Ranma thought the reveal of his curse and his explanation of how bad it makes him feel would make Ryoga take it easy on him, he thought wrong. In fact, Ryoga seems even more angry now, pissed off at the idea that looking so attractive could be a genuine problem. (Some fuel for you Ranma/Ryoga shippers out there.) Ryoga reveals a new trick. Apparently he has a bunch of bandanas, and he can throw them as sharp boomerangs? Okay.

Worried about him, Akane tries to help Ranma get out of there, sure he wouldn’t be able to win in his cursed form, only for Ranma to have to protect her, picking her up into his arms to run away to get some room away from their assailant. They then have a brief moment of realizing how close they just were, and each struggling with whether to go into why they’re upset at the other or say something about their cute moment. They both decide to go with the former. Oh, and there’s a brief cutaway scene of some zoo person trying to catch an animal, seeing Mr. Saotome come out of a store in his cursed form, and assuming he’s an escaped animal too.

While Ranma and Akane argue in a tree, or as Ryoga accurately calls it, “flirting”, he cuts down the tree using his best, which can apparently become tense and really sharp? Anyway, he’s on the attack again, and in the heat of the moment Ranma says a very bad thing, insinuating that he doesn’t like Akane. She slaps him, absolutely done with him. After all, she’s been worried about him, tried to help him, and in response he’s gotten angry and insulted her. Ranma tries to recover, going after her, but she dramatically turns around to say she is done caring about what he thinks...right as one of Ryoga’s sharp weapons falls from the sky, cutting off a large chunk of her hair mid-turn.

That’s the end of the episode! It was a lot, but it also wasn’t. Hmm...where to start, where to start...should I begin with what I didn’t like, or what I did? I think I’ll actually get the rougher parts out of the way first, so then I can relish talking about what I enjoyed.

There are no two ways about it: this fight, which I had remembered so fondly over the years, is full of filler material. To no one’s surprise, the Chemistry Club are anime-only characters, and unlike other such new elements from later in the series, which I enjoy to certain extents, these characters are nothing. Actually, nothing would have been better. They add no stakes, nothing worthwhile at all, they break up the fight in the process, and what we see of their characters is genuinely despicable, even worse than Kuno. It is left vague exactly what they want Akane for, but it’s left open to interpretation enough that it could be anything from getting her to join as their only girl club member, to being their shared sexual object. If you think I’m reaching for that, please, watch the episode. These are the inceliest incels who ever inceled, and they kind of scare me.

They’re not the only rancid fat in this episode. Kuno did not need to be here. At first, I was happy to see we’d get a little bit of him during this story, but his first scene was just a boring repeat of an already becoming stale joke (Hahaha isn’t it funny that he’s in love with two people at the same time?) and his second scene lasts for about four seconds and is a dull moment in the middle of an emotional scene for Ranma. Genma’s cutaway scenes aren’t as bad, but they’re not really good either. They’re the most neutral.

Of all the side-stories going on here, the only one I actually liked was Nabiki’s. It affected the plot a little, it was in-character for her while driving further to show how money-obsessed she is, she got some anime-only henchwomen out of it (Kikuko and Ryonami for those who care), and I never felt like it was hurting the fight itself. I get that a lot of these other elements of the episode were there for comic relief, but in my opinion it was bad comic relief. It undercut what the other parts of the episode were trying to do, not accentuating them like they should have, and they were just unappetizing. My last complaint would just be a lot of the opening scenes, which were basically mini-recaps about who Ryoga is and what he’s like, didn’t really feel needed.

All of that out of the way, allow me to now gush over what I love about this episode. This fight isn’t the best Ranma vs. Ryoga fight in the series (In fact, I don’t think it would make my Top 3. Yes, if you haven’t seen this show, they really do fight that many times over the course of it.) But it is still a pretty good fight with lots of memorable moments. Ryoga is the first opponent to actually test Ranma’s strength in any real ways, and there are some really killer bits of action here, such as the grappling, the mid-air fighting, and the telephone pole weapon.

What makes this more than just a cool looking fight are the emotional aspects to it. On Ranma’s side, he doesn’t really care about fighting Ryoga, up until his pride is hurt by Ryoga’s comments. For the first time, it’s Ranma getting mad, and from that we get to see how Ranma feels about his situation. That draws out some hints to the mystery behind why Ryoga is angry as well, if you’re paying attention to the clues. (I couldn’t think of anywhere else to mention this, but I am still reeling from how often Ryoga this early in the series relied on weird weapons. Where does he get them? I am quite glad (if I remember correctly) that they phased that part of him out with time.)

On Akane’s end, in addition to another case of Ranma saying the wrong thing to really hurt their attempts to connect with one another, we also learn more about her hair. While a little clumsy, early on it’s made clear, without being outright stated, that the reason Akane wears her hair long, and has been actively growing it out, is so she looks more like Kasumi, hoping to catch Dr. Tofu’s eye. Thus, when the episode ends with that hair being accidentally rendered far shorter, we know that means something to her.

I’d also say this episode does a good job of getting us further into the idea of a status quo developing. After all, it’s apparently been another month of Ranma living with the Tendo’s now, and the school at large seems to be settling into what Ranma brings to them with his presence. They’re not stunned by someone showing up to fight Ranma, they’re chasing after them to watch it. Only other thing to note is, in addition to Nabiki’s minions, Akane’s best friends finally appeared, Yuka and Sayuri. I actually wasn’t sure at first, since Yuka’s hair is a lot shorter than will be her norm later on, but I did confirm that they are in fact her equivalents to Ranma’s Hiroshi and Daisuke. They get even less characterization than those guys do, but they’re a nice addition to the growing cast regardless.

I still have a few characters who have shown up that I haven’t done a spotlight on, but none of them really featured in this episode, so I decided to do my first repeat. That’s right, we’re talking about Ranma again, and because I’ve already discussed his voice actors and actresses, I won’t need to go over them again, except to say I still love his Japanese voice actor for his uncursed state, but find his actress in that language to not quite work for me.

So, it’s been a little while since the first episode, and we’ve gotten to see Ranma a little more. Since this was an action-heavy episode, I think I’ll start with talking more about his fighting style. I said in that first episode that Ranma is fast, and he is. So far, he’s spent most of his fights dodging his opponent, rather than attacking them, and when he does it’s sometimes with such speed that they don’t even see it happening. It’s the very fact he’s more defensive that is occasionally shown to annoy Akane, and you can see it having another layer to it: Ranma would much rather avoid things he doesn’t like, rather than face them head-on.

But he’s not just quick, he’s quick-witted. To match his meticulous mobility, Ranma thinks on his feet, always looking for ways to outmaneuver or outsmart his opponents. We can see from how easily he lifts Ryoga’s umbrella, even in his cursed form, at the end of this episode that Ranma is also very strong, but he doesn’t rely on that strength, he uses his brain instead. Personally, I’ve always thought that was evidence that, at least with Ryoga of all people, he would probably lose a straight-up strength vs strength fight, but I’m not sure if that’s ever openly stated. Still, I also don’t see Ranma lifting telephone poles out of the ground.

In terms of his personality, I’d argue that through the episodes thus far, Ranma has shown to be a complex protagonist. On the surface layer, he’s a fairly abrasive person. He enjoys nettling people, at least those he knows are easy to rile up, and frequently says the worst possible thing to someone without realizing the damage his comment will do.

But there’s also more to him than that. Whether he wants to admit it or not, and he clearly doesn’t want to, Ranma does care for Akane. He does go out of his way to try and comfort her, cheer her up when she’s down, give her advice with her problems. When she might be in danger, Ranma runs in to help, and is upset that she’d endanger herself during his fight with Ryoga. In other words, Ranma is a tsundere, leaning fairly heavily on the tsun side.

One other important piece of who he is that we’ve gotten only hints of here or there so far is his pride and how it relates to his masculinity. Ranma is a very proud person, and he’s clearly not a fan of people taking him lightly or treating him in a way he doesn’t like. That includes being treated as though he was a girl, because he isn’t.

That is honestly understandable. Sometimes, completely outside of Ranma’s control, his physical body changes into something he doesn’t feel comfortable with. When he’s in his cursed form, people see him and treat him differently, and he keeps trying to assert his masculinity, to no avail. Ryoga gets Ranma angry by saying he was acting like a “girl”, completely unaware of the curse at the time. As I’ve said before, I think this actually relates quite well to the transgender experience, in these cases specifcally gender dysphoria and midgendering. I can’t remember how much we’ve seen of it up to now, but Ranma’s rejection of femininity in any way, something he does to try and preserve his masculine pride, often leads to him acting rude or even misogynistic to others. It’s an interesting part of his character, but I do feel the need to say right now that I absolutely hate the stereotype with trans men where some people claim they act misogynistic to try and be more masculine. Like, I know some people do it, but using that brush on all trans men is just wrong and transphobic, no thank you.

Welp, that certainly was an episode. Even after going into all the really interesting and good parts of this episode, I am still left with a bad taste in my mouth. By no means did the bad outweigh the good, but the fact the worst parts of the episode were frequently interspersed among the best parts of it broke up the pacing in a bad way for me. It’s still in the top half of the episodes so far, as I’d put it between episodes 6 and 4. The current ranking is now:

Episode 7: Enter Ryoga, the Eternal ‘Lost Boy’

Episode 2: School is No Place for Horsing Around

Episode 6: Akane's Lost Love... These Things Happen, You Know

Episode 8: School is a Battlefield! Ranma vs. Ryoga

Episode 4: Ranma and...Ranma? If It’s Not One Thing, It’s Another

Episode 5: Love Me to the Bone! The Compound Fracture of Akane's Heart

Episode 1: Here’s Ranma

Episode 3: A Sudden Storm of Love

This storyline isn’t over just yet though! Next week, we’ll be looking at the fallout of Akane’s impromptu haircut in episode 9, “True Confessions! A Girl's Hair is Her Life!”. See you all then!

[romeoburg-archived]

If there was to be a season 3 of mcsm, what do you think the plot would be?

so this could go one of two ways for me. long post ahead.

the way i kind of imagine i want it to go now would actually contain a different cast of characters. not next-gens, not people related to the new or old order or any supporting characters or antagonists. a completely fresh slate to build onto. id imagine because s2 deviated so far from the new order that it’d be best to keep it to, possibly, a set of three instead of turning into a band of 50 million like it tends to for both seasons.

i think you should still get a choice to customize your appearance similar to jesse, but instead of jesse we could have a character with another neutral name not similar to any we have already (so not named alex, sam, etc. bc they sound similar to axel, sammy, etc.). i also would like it to be something that would get u a line similar to torquedawgs in s1e6 as awful as it was. perhaps charlie? and i think the other two should play on whatever charlie’s strength is as well. i dont particularly think we should go another warrior/griefer/redstoner route.

anyways, a plot for an entire season NOT trying to base it off of existing characters or plots is a little difficult. would the main town still be beacontown or would we feature an entirely new area? thats something id have to flesh out on my own, so definitely my biggest need is to just have a fresh slate of characters with new personalities.

idea #2 is under the cut bc its MASSIVE.

my original idea last year when i made a post like this (the original post was deleted so i cant grab it but) was to slightly deviate from the format and structure of the first two seasons in favor of something that would still have to come to a certain conclusion but also seem more like a ‘choose your own adventure’ plot.

it was going to be a scenario where you could choose between the 3 admins (xara, fred and romeo) and view their backstories from their points of view at different points that could eventually culminate into the big fight that led them all to separate completely.  each of them would also have 3 episodes each, which would total to six and make sense with the fact that if you count s1e5 as a dlc and not as an opener, then it could continue the trend of each season picking up an extra episode to add onto the count (s1: 4 eps, s2: 5 eps, s3: 6 eps). each of the episodes as well, since each character gets 3 from their own povs, would be labeled a bit different as well. for instance the first episode of xara’s route would be s3xe1 for xara episode and so on. they would include enough ‘your story in changing’ to help establish a certain arc for each character while also keeping them true to their personalities and keep the events of season 2 accurate. it would also function similar to s2 where you can build your experience using your s2 save or yknow. completely fudge it. so of course like s2 contains s1 spoilers, s3 is THE DEFINITION of a spoiler season. i equate it to playing zero escape. each game in itself is the definition of ‘if you play this youll spoil a whole other game’.

xara’s episodes would have gone in this order xe1: the fight with romeo and watching fred die, her time in the sunshine institute, and finally an episode that actually hinges on your choice to give xara her bed or not. the final episode would either end with her final moments running into beacontown and being killed, or her staying in the underneath and dealing with themes of loss and depression kind of how s2′s major theme was that people can change and youll always have your friends even if they arent with you physically. my major ‘choice’ for this episode set was to be if you forgave romeo or not but it woud rly only work if you gave xara her bed in s2 to stop her from charging beacontown

freds episodes follow a more ‘linear path’. fe1 was to be a sort of flashback-type episode similar to xe1, except it would be played out as if it wasnt a flashback and that was something that was happening in quote unquote real time. it starts off with the three just living their normal life and near the end of the episode its obvious theres something wrong with romeo, episode 2 involves more escalations and fights and episode 3 starts with fred writing his journal and creating the gauntlet and ends  with him getting killed. like i said this would probably be the one with the least ‘your story is changing’ considering fred is already established as a dead character by the time s2 even beings

romeos episodes are like this: episode 1 is backstory on how they became admins which i wont totally push my headcanons but they totally came across something related to herobrine that gave them their powers. the episode continues with the three helping people and being nice, but it ends kind of abruptly similar to how s2′s episodes tend to end. episode 2 is similar to fe3, except re2 ends with romeo killing friend, banishing xara and bedrocking the underneath, ultimately ending with the first shot of him creating the overworld. episode 3 is post-overworld creation with him trying to find a friend and champion, we see the witherstorm from an outside perspective and it ends with romeo watching jesse from afar at the beacon ceremony at the end of s1e4.

[megaboy335]

Mega’s 2019 Top Anime List

Another year of anime has come and gone. This year I ended up watching a lot less due to the over saturation of Isekai and light novel anime, but there was still plenty to enjoy. As usual I consider any show that ended this year as a contender to be on my list. This is simply my opinion and there will be spoilers below.

1) Pokemon Sun & Moon

Starting this list with a show I watched for 3 years, Pokemon Sun and Moon was one of the best experiences I’ve ever had with the Pokemon anime. It took the best aspects of XY and added loose animation to the mix. Ash and friends have never had so much personality as each episode brought the characters to life in new ways with funny facial expressions. As an adaptation of the game, Pokemon SM did better in some areas compared to others. The trials were simplified or restructured to account for Ash’s classmates being trial captains in the game. While the Kahuna battles were spaced out very far apart in the anime. I always thought it was strange that in-between major story battles, Ash barely ever thought about the challenges.

The two major story highlights of the anime are Lusamine’s arc and the Pokemon League. Lusamine’s story was the main plot of SM and it played out almost exactly like the game. Her downfall to her Ultra Beasts obsession and then Lillie knocking some sense back into her mom is still an emotional highlight of the series. In any Pokemon anime, the Pokemon League is what brings meaning to Ash’s entire journey through the region. SM’s league is similar to the game where it’s the first league of the region. The rival pairings and matches were completely predictable, but it ended with two big surprises. First, Ash was actually allowed to win for once (matching your character becoming the first champion in the game), and secondly he had a full 6 v 6 match with Kukui. It spanned 3.5 episodes with Ash’s Litten completing its character arc by reaching its final form during the battle. It was a rare match where both parties are battling it out for fun and it ended with a flashy finale of two hype Z-moves. Pokemon SM will be remembered for its simplicity, yet ambitious approach in always showing something new week after week.

2) Mob Psycho 100 Season 2

Mob-Psycho continues where it left off in season 1. The main protagonists have come away from a battle with Claw and now daily life resumes. This season featured a love story, Reigen’s arc, deeper exploration into psychic powers, and the return of Claw. Just like in season 1, Mob continues to excel in two major areas. First is of course the animation. An average episode of Mob is literally that one stand-out episode of a one cour anime. Psychic power usage is often a reflection of emotions and they are animated in different ways depending on the characters thoughts in a particular scene. There were so many highlights this season that it would be impossible to list them all.

Mob’s second strength is the character writing. In season 1 Mob was a boy struggling to create his own identity. This season Mob actively tries to break out of his shell and become his own unique person. We see this through his efforts with the fitness club, again when he separates from Regien, and again as he shows everyone that having psychic powers is no substitute for personal growth or status. Mob is no longer a timid boy like he was at the start of the series. He can now stand on his own two feet and help others who are struggling to get up. Considering there is still a little more manga left to cover, I can only hope it gets one last season to finish out the story.

3) Kaguya-Sama: Love is War

In order to understand the appeal of Kaguya-Sama, just for a second imagine if Death Note was a romantic comedy. Both of the protagonists are locked into a battle of wits to outsmart the other in the events of daily life. The mere act of choosing a vacation spot, going somewhere, or giving an item to each other suddenly becomes a high stakes duel. Kaguya-sama follows Kaguya herself and Shirogane as they try to avoid being the first to admit their love for each other. The side characters only help to add wildcards to each battle such as Chika being able to change the tide of battle with a single phrase.

I enjoyed seeing how absurd each battle would become week after week. The presentation is simple, yet very effective in this anime. Resources were definitely allocated for use in certain places for maximum impact. The voice acting also helped a ton in selling just how important each battle was in the minds of the characters. Overall, the series knows how to play with your expectations. Some battles turn out as expected, some with a twist, and others end on some kind of middle ground. However, each battle brings them a little closer together. I can’t wait for the next season in April.

4) Run with the Wind

Almost all sports anime revolve around high school students trying to become as good as possible and win nationals before the 3rd years graduate. However, Run with the Wind takes a different approach to this formula. It focuses on a group of college students who, at the start at least, would rather do anything else than run. It takes about half of the show before our group of characters even get on the same page about running. I enjoyed how this anime put us into the heads of each character. Some have personal reasons for not wanting to run, while for others it was something trivial. However, by committing themselves to the team they each gained a new outlook on themselves and those around them. It was quite literally an uphill for the team to reach the level of success they got at the end. The final run brilliantly showed how each character learned from the experience and how the time they spent on the team was a positive life changing moment. Run with the Wind shows that it's never too late to try something new.

5) JoJo’s Bizarre Adventure Part 5: Golden Wind

Jojo is back on the list after an extended break between parts 4 and 5. Compared to previous stories, Part 5 is most similar to part 3. There is a quest to clear and it involves the main group traveling across the land and defeating enemy stand users each step of the way. The differences between part 5 and its previous stories becoming apparent right away. First off, the protagonist is not a traditional Joestar. He is the son of Dio born from when he had Jonathan’s body. Secondly, the group of main characters are not exactly good guys. As mafia members they display a sense of unity, but lack the high integrity of previous Jojo characters. A connection they all share is being looked down upon in society, but placing a place in the world through Bucciarati’s squad.

The aspect that makes or breaks a JoJo story for me is usually the villain. I consider Diavolo to be the weakest of any villain across the various JoJo stories. During the early arcs of the story, Diavolo comes off as an interesting character. He has a mysterious personality and will clearly stop at nothing to keep his identity hidden, including killing his own daughter. The series then adds layer of complexity when we meet his alter ego Doppio. The two personalities are clearly distinctive, but the line between which one is charge can be murky. However, his character intrigue quickly comes crashing down as the final arc fully brings Diavolo into the limelight. The story comes down to who can control the stand arrow, which is a sharp contrast to previous villains who drove the final arc on the back of their eccentric personalities. While JoJo part 5 is still a good anime, it will always come near the bottom of my favorite JoJo parts.

The Year of High Profile Weekly Shonen Jump Anime Adaptations

As the 2016-17 hits from Weekly Shonen Jump have aged up, all of their anime dropped in succession this year. I am a huge fan of the magazine, so here’s a section with some quick thoughts of their anime.

The Promise Neverland - The anime changed the escape arc from a mental battle to a horror series. While animation is definitely better suited to playing with the idea of show don’t tell, the result ended up being telling the story through a different lens. While I appreciated the idea, I feel it came up short. The loss of Posuka Demizu’s art was another major blow to the mood they were trying to create.

Kimetsu no Yaiba - When the manga first began, I never imagined it would become a 1+ Million seller. Ufotable brought their top class digital effects to a manga that at a quick glance would make anyone think it would be the last series to get such treatment. The anime brought a lot to the table and greatly helped to bring the manga to life. It was a great experience from start to finish (episode 19 is a major highlight of the year). I’m looking forward to the upcoming film.

Dr. Stone - Compared to the other Jump anime this year, Dr. Stone’s animation and presentation stuck very close to the manga (if not even inferior to Boichi’s creative spreads at times). The aspect that sold this anime best was the voice cast. They brought so much life into the characters and conveyed the passion each one has for science and learning. I enjoyed seeing Senku create his inventions in animated form.

Bokuben - This might not exactly be considered “high-profile”, but I can’t help but find myself impressed by the anime week after week. It adds a few touches here and there to better tell a cohesive story and occasionally adds a scene or two. I appreciated the heart the anime brought to the series through the seiyuu. Introducing a new seiyuu unit from the cast was also a nice bonus as well.

Best OP/EDs of the year:

1) One Piece Opening 22 - The One Piece anime has changed dramatically under Tatsuya Nagamine. This opening is fast paced and filled with future story teases. It changes the format by cutting the op run time down to 2 minutes and includes clips of the episode. The final sequence of Luffy vs. Kaido always gets me hyped each to watch the episode each week. 

2) Mob Psycho II Opening - This opening feels like a natural continuation of the first season opening. It once again showcases how the show is full of creative animation and unusual characters.

3) Mix Opening 1- Mitsuru Adachi is known for his nuanced writing of giving characters the space to convey their thoughts. This opening fully shows these traits through its sequence of character shots that feel like a natural usage of his writing style. 

4) Kaguya-Sama Chika Ending - Cute song and amazing choreography. There’s a clear reason why this swept across the internet last winter

5) JoJo’s Bizarre Adventure Part 5 Opening 2 - Not only is Traitor’s Requiem a very cool name for a song for this part of the story, but the plot teases are perfectly timed in the song. The opening animation also kept on giving with the villain version and Giorno later recapturing the opening.

This brings 2019 to a close and another decade comes to an end. As my way of recapping the decade, here is a list of my top shows in each post I have made since I started posting them in 2014:

Space Brothers

Hunter x Hunter

Kill la Kill

Nisekoi

JoJo’s Bizarre Adventure Part 3

Sore ga Seiyuu

Death Parade

JoJo’s Bizarre Adventure Part 3 (Second Half)

Hibike Euphonium 

One Punch Man Season 1

JoJo’s Bizarre Adventure Part 4

Mob Psycho 100 Season 1

Yuri on Ice

Konosuba Season 1

Sakamoto Desu Ga?

Miss Kobayashi’s Dragon Maid

Tsuki Ga Kirei

Re:Creators

Ero-manga Sensei

Owarimonogatari (the Monogatari series in general)

Hugtto Precure

A Place Further than the Universe

Yuru Camp

Dragonball Super

S.S.S.S. Gridman

[chuckleshan]

AAM, changed the formula and predicted it

I haven’t watched the ending of the series yet, but I have been binging the episodes from the beginning and from seeing all the posts in the juliantina tag about what happened with Lucia, it brought me back to a scene that may not be as inconsequential as it appeared in that episode. I believe it’s episode 5 or 6, but don’t quote me I’ve been binging so everything is a bit muddled. Anyways Eva, Lucia, Johnny, Guillermo and some other dudes are in a board meeting just after Leòn has passed away. There’s some conversation and then Guillermo, who really doesn’t even really want the job at the company or position on the board, speaks out and says that the whole media empire their father built is a mastodon, out dated and lost to time, unappealing to a younger generation. Unappealing to him and his friends and if they were gonna make the Carvajal group relevant then they needed to shake things up and make big changes. Looking back on that scene now, I strongly believe it was heavy foreshadowing of things to come. The show as a whole did just that, they took that traditional formula and threw it out the window. I was wholly prepared to be team Eva and see her come around to Juliantina while proving that Lucia is a bad guy and if you watched the beginning of the series you’d probably be on Eva’s side too and then they twisted it on their head.

In the traditional format of a novela the story heavily has happy endings for the good guys and bad endings for the bad guys. You would think then that with everything Lucia has been through she would survive and she would live happily ever after and in my heart I wanted that too, because I grew to love Lucia. She wasn’t this clear cut good guy there was a lot of grey area with her, especially in the beginning episodes where she was a very willing lover to Johnny, very much participating in their plans to take over the Carvajal empire. Even past Leòn’s death which she said various times was not part of the plan, she still kept coming back to Johnny. The show spent a considerable amount of time shaping Lucia and although she wasn’t transmigrated, just like a butterfly she went through various transformations over the course of the series. She distanced herself from Johnny, she started working against him and she saw who he had become and she didn’t back down from him like the scared girl she used to be. She realized that she truly loved Leòn and his kids (maybe not Eva) and they were the family she wanted to have. She wanted to be a better mother for them than she had with her own mom. This is shown in her relationship with both Guille and Valentina and her support for them in anyway she could. At the end of the day she served her purpose, which the show heavily implies is the point of second chances with those who transmigrated, they have a purpose to fulfill. Unlike the men, Lucia didn’t need to die to get a second chance or redeem herself, she was always on that path. Her purpose fulfilled she found happiness and then she got killed, which is terrible, but plays into another line from earlier in the show where Leòn before they got married told Camilo that if he died after him and Lucia were married, he would die happy.

Also we need to understand that although Leòn thought his purpose was to come back and find his killer and get his wife and family back. His actual purpose as the show clearly points out in the beginning and through the series is to be the father his children needed him to be from the start. Less focused on work and more focused on them. Again we come back to Guille’s words “he was distant as a father, but present at work.” After he came back, Silvina spent a lot of time dressing down Leòn in a sympathetic way to Jacobo. He thought he’d been this great father, but he pushed Eva into a life she didn’t want, he was inattentive to Guillermo and his interests and although shown to have a soft side for Valentina, he let her get away with too much too easily. So while we expected him to be happy with Lucia in this second chance, the point was never for that to happen, he needed to do right by his children.

Add in the Juliantina storyline, right to Valentina coming out on tv for the world to see and them having a happy ending (maybe not the one the fandom wanted, but we have fic for that). An ending that would have been thought impossible before and especially during the bloodbath that was 2016 of all our favorite wlw ships. The show subverted a lot of the traditional storytelling methods, hell they had death herself play a heavy role in getting Juliantina together she buried a lot of cis straight men to clear their path to happiness. Can’t bury your gays if La Muerte is their biggest shipper!!!

In so doing that brings me back to my original point, Amar a Muerte from practically the beginning told us they were gonna be a different type of show. They knew they already had the traditionalist who would watch a novela no matter what, dialed in and they were gonna use their platform to normalize being lgbt in a strictly conservative country. However they also wanted to reach a new audience and speak to them directly letting them know they can be happy in spite of the challenges they may face, they will struggle like Juliana (probably minus the kidnapping and death threats) parents can come around, even if it takes an outsider (Panchito for the win) to show them that love is love.

Amar a Muerte set a goal to reach more than their traditional audience by telling a complex story which had many paths and questions, not all of which were answered, but still drew people into the overall plot and judging by the response the show has gotten and the recognition received and popularity here on tumblr, over on Twitter etc. I believe they hit their mark perfectly. They have opened the door for everyone else who will follow and reshaped the landscape in a massive way for future story tellers to build on and I for one am excited to see what comes next.

I strongly urge all juliantinas if you can to watch all the episodes in full from the beginning not only do you see just how great juliantina are individually, but you also get to see just how much La Muerte manipulated events in their favor. The transmigrated play a much bigger role in the story than you can imagine.

Did we get everything we want? No. Did all our questions get answered? No. Did the show achieve its goal of telling a different story than we are all used to? Very much so, in my opinion.

End Rant

[raeofalbion]

ETA - June ‘19 Edition

Wow, I haven't done one of these since last October, wtf me. Anyway. The momentary return of the least appropriately named part of this blog just to give a brief overview of what’s going on. -sad confetti canon-

Blackout - I’m gonna aim for 2 - 3 chapters being posted before July cuz I’ve been really shitty about updating this year and I’m really sorry about that. Given the fic is done and edited and all I really have to do is check formatting and typos and fix last minute changes, it just feels really inexcusable to me that I’ve let myself get so far behind. So I’m gonna try to do a little bit better.

ACoIaS - on hiatus still. As I said at the end of last year, I’m on a slight break from Fable (other than Blackout) to avoid burn out and also just to keep from stagnating so much when I get back to it. But if I’m feeling very Fable-y come November, I’ll probably finish up at least the first part during that NaNo. If not November, then next April’s NaNo. I haven’t lost interest, it’s not abandoned, I still like it and I have the entire fic outlined (and most of the second outlined, as well), I just need to take a little break and eventually write it.

Gothic Horror AU - I’m having a hard time figuring out my conclusion to this which is keeping me from making good progress, but I’m planning on returning to it next month and maybe I’ll make some progress. We’ll see.

Shorts & One Shots - I’ve got a handful of one shots started; can’t really go into detail because I’ve just got so many in progress things that it’d be impractical to list them all here (unless y’all really want a super long list here? Idk, I need to redo my In Progress page so maybe I’ll do that there). But I’ve got the next two of the Numbers fics (Three and Five) started and a few other things I know I’ve talked about (the robot fic, anyone?) so still poking slowly away at those. I’m hoping to get a few done soon.

- The Noir AU (& Other Sherlock Fic Ideas) - I know I mentioned plotting this out, but I wanted to put this to a majority vote: would you like me to prioritise this, or any other bigger Sherlock ideas I’ve mentioned, over the Gothic Horror AU? Because I have a lot of interest in a lot of those ideas, but I’m trying to keep an eye on not doing too much at once. So, quick summaries: * Gothic Horror AU is focused around a case that begins about a month after TEH and also deals with questioning reality, repressed trauma, and possibly actual ghosts. Sheriarty, but the ship’s very much background except where it nudges against the main plot. * Noir AU is very trope heavy, but very much on purpose--a noir retelling of various episodes and ACD’s stories, but Sherlock’s actually aware of what all the tropes are and mean and no one else is (so it can get a little cracky and a little dark, but mainly intended to be fun). Ship tags for Adlock, Sheriarty, and Warstan which will all impact the plots in various ways, though the retellings will, of course, be the focus. * That (Probably Sad) Very Gay Victorian Fae AU...which I’ll just link to here. The only problem with this idea is how much research I’ll have to do. Not for big things, I’ve researched a lot of the big things for other projects and for fun, but for all the little things that will need a lot of looking into. So idk. * Writer AU which is best detailed here. If you’ve read MoI (which I doubt unless I’ve discovered some Sherlock fans who also like Fable?), I’m thinking that level of balance between shippy stuff and plot? But yeah, those are the main big ideas. If anyone has one they’d really like me to prioritise, lemme know cuz it really helps to know what readers are into. <3

Prompts - Not listing for practicality’s sake, but I’m prioritising the most recent ones and making decent, if slow, progress. I’ve also shelved a couple dozen really, really old prompts (like verging on 3 yrs old) that didn’t have ships/characters in the ask. Or that I’ve lost the ask for. Or, worst of all, have characters but don’t have what prompt it’s for added to them (which, LOL, good luck me figuring out which prompt list that’s for 3 years later). It’s actually a really weird relief to shelve those? Feels a little less overwhelming. Still a lot to do, but with time, right?

Some personal stuff below the cut.

I don’t usually do personal stuff on etas, but I figure y’all should know why I’ve been so slow writing lately. I’ve never tried to hide that I’ve got pretty severe depression and BPD on top of that, both of which have been complete assholes lately. Unfortunately, I also get really badly heatsick and my depression is worse in the summer so, now that summer’s happening in full, I’ve been feeling just...bad. Also physically bad in a way that suggests I really need to see a doctor, but, every time I’ve brought up these symptoms to my doctor, he’s shrugged them off, told me to lose weight (and to basically cut my calorie and carb intake down to nearly nothing which...doesn’t work and is a horrible thing to tell someone, so fuck you, doc), and then did nothing. And he seems to be the norm, attitude-wise, for doctors in the area. So I don’t really know what to do that’s practical in my current circumstances. But I’m pissed off it’s affecting things I enjoy and it’s just...ugh. I’m tired. I’m really tired. I want to enjoy my writing and my gaming and all that the way I used to but it just kinda feels hopeless at times. Gotta keep at it, I guess, but fuck if it’s just mentally and emotionally exhausting.

[incarnateirony]

Hi. So, since you seem to know what you're talking about, I wanted to ask if you could give like ... a short list tips ... of things to always be aware of/think about/question when analyzing something or getting into writing? Have a nice day.

well I had typed something but X’ed out like a dumbass without sending it because my RP group is crack and consumes my focus so lemme try this again.

A few things to track, but I’ll expand on:

Author intent

Cinematographer intent

Production intent

These are in no way mutually exclusive and are very collaborative. However, recognizing that they are not all the same can help you figure out who’s putting in what level.

Realistically, anyone involved in the visual part of the art – directing, camera operation, set design, lighting – could be considered about on par with authors in regards to the validity of their storytelling, as they generate elements to the screen that if this were a book, the author would be etching out themselves. On the other hand, it’s important to recognize the limitations of screenplay format. Pull up some screenplays – SPN, or anything – and recognize it’s almost comedically barren on details. And that’s not to undermine the amount of thought that goes into screenwriting, either.

Screenwriting is an art of packing as much of your intent as you can into as few words as possible, leaving it to the director that takes on your work. Certain directors have made statements (it’s escaping me who it was–Sgriccia?) about understanding how the writing room works and what they’re aspiring after. And that’s good. 

But even after you get a collaborative writers room working with a collaborative cinematography team, you also get editors that run full circle back to the showrunners and other office end team that polish, rearrange, pin together, and trim.

So we have multiple phases of a process that’s really difficult for most people to casually eye, and I get that.

Generally speaking, if you’re looking at seeing primary plot arc direction as the authors at the start of this process intend, you need to look at what’s in the script. And we don’t get access to all scripts, but on reviewing a plethora of scripts both SPN and non-SPN, you can at least have a fairly clean shot at what kinds of things likely are or aren’t.

The directors collaborate off of work started by the writers, so the writers are the cornerstone in direction, characterization, etc; these are the primary things that propel our story, the rest just fulfills it. Knowing where to divorce these things from each other can be a huge step.

That’s not to say you completely ignore visuals either. There’s a vast wash of art in the crafting of set, the framing of shots, the choices in lighting and so on.

One of the problems I find, however, is that people will just get hell bent on an idea that X color will always mean X thing in X situation. Taking a few days to research color theory in film is something I very loudly suggest as a start. There is, most definitely, color theory but it’s not so clear cut as like “the drapes were blue here and the chair three episodes again was blue and Dean sat in it while talking about Cas so clearly the drapes are his window to thinking about Cas” because that’s… That’s not… I promise you that’s not how creators think. I literally just promise you that.

Hue, Saturation, Brightness, scale of color, there’s all kinds of psychology attached to the use of these in film, or different color coding. It’s the same logic on why most trashy high volume fast food places make their logos red and yellow or red and orange, because that evokes a feral side that induces hunger (or, depending on HUE, SATURATION, BRIGHTNESS AND TONE, anything from fear to rage to passion). Basically, lighting and elements like this are your Big Mood. Big Mood matters. But a random prop happening to be a random color is very unlikely to have major significance unless it is a focal point object. Objects that are chosen as focal points often have meticulous consideration put into them.

Ambient set design is huge. It can be everything from light to shape of a room, to a consistent theme in the background. For example, if Sam and Dean are reading a lot about exorcisms, the books we see littered around and most disturbed are all about exorcisms or demons. Sometimes it’s less front-facing than that, like perpetually taunting the background with themes related even if they aren’t textually searching for this. Modernly, that’s hermetic books and emblems, for example. These are all very relevant to the overall story arch. But if you’re looking to find that one Red or Blue or Green book binder to compare to a lamp shade from several episodes ago, you’re probably gonna have a bad time and sort of wander off into an area that ends up completely unfulfilled later.

Just like the writers all have their own style – and they do, and recognizing these styles can help with a lot – the directors do too, and how they choose to work and frame sets with the lighting team are not identical. You wouldn’t try to directly conflate the art of Munch with Gauguin, I hope, and that’s something we have to recognize here. The writing is the subject and they are the painters. And there is a strong stylistic theme, wherein the later production ends like editors mostly tie it into a product that doesn’t look like a wild disaster, but each of their styles bleed through. 

Sgriccia’s directing is not Wright’s directing and never will be. They’re both great. They both visualize the elements and empower things being lifted from the script masterminded from the authors to render it to us, but where they choose to put That Orangish Lamp is going to be in the microcosm of their episode/painting/works, not the macrocosm of the season, as given by the writers, who still will drive our direction.

The directors know and deeply understand what the writers are after, but there’s a bit of a hazard in conflating everybody like they’re one singular artist, rather than dozens of collaborative artists manifesting this on different tiers. 

Directors can, to some extent, know the story arena in the future too and choose to frame shots in it with strong visual storytelling. Knowing keys to visual storytelling is also really important, rather than getting lost chasing the story behind a black pipe that set designers just put in there because the building needed a damn pipe. Because part of building a set is also making it coherent and a lot of elements simply exist. Understanding if the director is dynamically framing it to call attention to it, however, is something else. 

One of the boldest examples I can think in recent history was when I had random directing drabbles about 14.7 (x) I simply observed very pointed plot (re)construction that changed depending on angle in a conscious decision. Dean being “boxed in” was a statement I wouldn’t even understand the full ironic dickslap of for a while, but it was right there, in visual storytelling, in something I couldn’t ignore. Or another one about the difference of focal point objects, such as the keys to the comic legacy (x) which finalized my faith that John was, in fact, returning.

Or in text, the literal dialogue of Michael (and, before that, Lucifer), over daddy issues, that had me swearing Chuck literally was going to come back this season, non-negotiable, in echo to resolving John-Sam-Dean issues as well. 

The thing is, many of these do boil down to the script - focal point items (mix tapes, literal keys by the ghost, dialogue). And the directing drabbles picked out a specific set of frames that literally required purposeful (re)construction which caused a visual storytelling element.

Personally, I am very, very picky about what I meta over or point out. And that’s not popular around here. Somebody’s always gonna crow “how do you know better”, and any time they get that answer they get offended like “well now you’re just rubbing it in my face!” – in the end, anyone CAN analyze anything, the point is whether people are wrapping their brains up in an idea that’s sort of sending them off to never-neverland and won’t pay out.

Key focal point objects versus ambiance; text versus cinematography; they’re all important, but all don’t drive our forward motion with the same thrumming baseline as the writers churning out content beneath it all. The others bring it to life and yes, collaborate with them, but there needs to be a certain level of judgment applied before diving off chasing dogs in picture frames if you actually expect it to lead anywhere.

And again, I point out to scene ambiance, which can be great to discuss! But those need to be held as microcosms unto themselves or at least that director’s hand. It can be interesting to study little things painted in the layers. My Red, Yellow, and Blue studies for Optimism are an example of that. I do enjoy color theory, but I often restrain myself from engaging in it because people tend to get ahead of themselves and not apply the other… stuff. *gestures vaguely above*.

Honestly, read about things like color theory, dynamic cinematography methods and more for that front, and read through some scripts to recognize the levels before trying to study and pitch into them entirely. 

[miasswier]

miasswier’s ultimate glee ranking: no 38

38: Wheels

Written by: Ryan Murphy Directed by: Paris Barclay

Overall Thoughts: How in the world did I forget how incredible this episode is?!?!?!! I remember all the awesome things that happen in this episode, but somehow forgot that they all happen in this episode – for some reason I thought Defying Gravity was in “Ballad”? I don’t even know. Anyway, this episode is absolutely fantastic, but I’m going to head straight into what I like about it because I don’t want to repeat myself too much!

What I Like:

This is the first episode of Glee that actually feels like we’re watching an ensemble show. Artie and Kurt get their own subplot, and Tina gets a little bit of the spotlight too. Also, Puck and Quinn get to interact for a solid two or three minutes throughout this episode without either Finn or Rachel getting involved. And Will isn’t as central to the plot! It’s honestly fantastic

The introduction of Becky Jackson, who would become one o f the most hilarious characters in all of Glee. It’s really interesting seeing her here, and how different she is from how she ends up. You can definitely see Sue’s influence on her, and while in some areas it’s a bad thing, overall I think it was really good for her. She ends the series with so much confidence that it’s absolutely blinding, and I think the way Sue treats her really helps her.

Sue calling Will out for being ableist in the guise of being open-minded. Becky very clearly has no problems with Sue telling her she needs to improve, and she also responds to her in a way that no other Cheerio ever does – she straight up tells Sue that she’s trying, but it’s difficult. No other Cheerio ever says anything like that to Sue. Even though we watch Becky grow in her confidence and independence, you can already see the seeds of that here. Seriously, I just absolutely adore Becky Jackson and her relationship with Sue, and I’m totally willing to fight people who don’t.

The scene with Puck and Quinn “baking”. This is honestly the scene that made me fall in love with these two as a couple. It’s adorable, it’s hilarious, and it’s really, really sweet. I think it’s the first time in the whole show that we actually see Quinn genuinely happy. It’s refreshing.

Puck calling Finn out on his shit, how he’s always complaining about how hard this is on him but never seems to realize that it’s a thousand times harder for Quinn. The fact that it took five whole episodes of Quinn being pregnant before somebody asked “what about how she’s feeling” is really sad, though.

Burt sticking up for Kurt and not taking any of Will’s bullshit.

Burt being faced with the reality that Kurt is being bullied, and probably will be bullied for the rest of his life. It’s an emotional scene, and while it’s nice to see Burt tell Kurt that “nobody pushes the Hummel’s around”, you can also see how it’s just hitting him that Kurt doesn’t have it easy, and will never have it easy, all because other people are narrow minded and stupid. He never once blames Kurt or asks him to stop being himself – in fact, he encourages Kurt to continue being himself, and seems legitimately angry when Kurt admits he flubbed the note. It’s really refreshing, coming from the guy who “isn’t in love with the idea” of his son being gay and isn’t ready to have a conversation about Kurt and guys yet.

Kurt being willing to sacrifice a solo because he doesn’t want his father to be hurt by the bullying he faces. I feel like this really defines a huge part of Kurt’s character, and it’s nice to see him becoming fleshed out.

Will drawing attention to the fact that McKinley High isn’t accessible, and Artie wanting to use the Glee bake sale money to build a ramp in the auditorium. I’m really glad that they touched on the issue of accessibility without getting too “life is hard enough for Artie as it is can’t we make it just a little easier for him?”, which I find a lot of shows, movies, and books tend to do. They focus wasn’t on how hard Artie’s life is because he’s in a wheelchair, it was on the fact that the lack of accessibility in the school is what makes his life harder. He isn’t the problem the – the school is.

Brittany openly and honestly being friends with Becky – not because she feels pity for her, but because she actually likes her. I have no idea how this Brittany eventually turned into the awful, mean-spirited Brittany that we were subjected to throughout most of seasons 3 and 4. I feel like people always want to focus on Quinn’s character assassination but honestly, this show did Brittany so dirty.

I have a bit of a love-hate relationship with the scene between Tina and Artie at the end. I do think they’re super cute and super sweet, and the scene definitely has that tone. Tina revealing that she doesn’t have a stutter and doesn’t feel like she has to keep faking because now she’s in Glee and doesn’t want to push people away is sweet, but I also really appreciate that Artie calls her out when she says that they’re the same, because he’s right, when it comes to this, they’re not. He can’t fake the fact that he’s in a wheelchair, and it was unfair of her to act like they have something in common because of a speech impediment that she’s been faking for years. That being said…

Things I Don’t Like:

… it’s not like Tina gets to fake being Asian. Artie acts like because Tina doesn’t have a stutter she suddenly isn’t a minority and doesn’t know what it’s like to be discriminated against. To be fair to Artie, though, Glee never really addressed race issues on a large scale, and was honestly full of microaggressions and just… overall had a very bad, very ugly relationship with race. So it’s not like Artie is specifically being ignorant (and I mean, for fucks sake, he’s a fourteen-year-old, I don’t expect him to be completely knowledgeable on intersectionality and oppression), it’s just how Glee rolls. It still rubs me the wrong way, though.

Small addition to that, who the fuck has their first date in their high school after hours? Why?

The fact that we finally get to see some of the everyday struggles that Artie faces because the school simply isn’t accessible, but it’s shown through a montage of Finn and Rachel struggling with these things.

Finn and Rachel using a fake disability in order to get Finn a job. That is honestly so disgusting and gross, I can’t even begin to explain how awful it is. Ugh.

Quinn making no effort to get a job herself, but insisting that Finn do so. Look, I’m usually on Quinn’s side in this whole story, but in this episode she is honestly being quite unreasonable. Especially considering Finn isn���t actually the father of her baby, and she knows that full well.

Rachel acting like she deserves the solo that was literally handed to her. If you don’t work for something you can’t get mad when it’s taken away. Also, that line where she’s like “maybe one day you’ll find a way to create teaching moments without ruining my life” makes me roll my eyes SO HARD. How is Will supposed to ever teach anybody anything if you demand all of his attention and every single song ever sung? For fucks sake…

Everybody acting like Brittany shouldn’t be hanging out with Becky, and seeming surprised that the two are friends. Fuck off, you assholes.

Songs

Dancing with Myself: Artie’s first real solo. I can’t believe it took nine episodes for us to get this. Artie’s voice is amazing, and this slowed-down version of the song really works. I especially like how the instruments fade away at the end and we see that it’s really just Artie singing alone in the auditorium. It really works to showcase how lonely and isolated he feels. My only issue is that we are forced to watch Will awkwardly creeping. I wish they could have let Artie just have his moment, instead of making it about Will deciding to be Noble.

Defying Gravity: I’m a huge Wicked fan, so this cut version has always sort of irked me, mostly because they cut my favourite part of the song. I also am not really a fan of the Rachel sections of this song (and I’ve never bothered listening to the full Rachel solo version) because I feel like she sounds too much like Idina Menzel and what’s the point of doing a cover if you just sound exactly like the original singer? The format of it for the diva-off is cool, though, and Kurt sounds awesome. It really does suck that they forced him to mess up the note when Chris Colfer specifically wanted to sing this song.

Proud Mary: I love this song! The energy is awesome, and I feel like it’s the first real group number that we get. The choreography is awesome, and the outfits are adorable. Really a fantastic way to end a fantastic episode.

[canaryatlaw]

alright, it’s a bit past midnight so I should get writing. today was pretty good. I woke up to my alarm at 10:30 which gave me half an hour to make myself presentable from the waist up at least for my Skype interview, lol, which wasn’t too difficult to get done. The interview went pretty well, it was fairly informal because they’re basically a company that gets projects from law firms that are outsourcing and they can submit our resumes for projects and see if we get selected. Most of them are fairly short term but would be a solid work day, and it would be on location in the loop which I think is probably a good thing because even if I had work to do on my laptop I still think being in my apartment alone all day would drive me nuts. So that’s looking positive, he said compensation differs per project but the unlicensed stuff is generally $22-$25 an hour while some of the licensed work (which I could do if it was available) would be more in the $30′s, so that’s good. Didn’t last all that long, but it was good. From there I kinda bummed around a bit before getting ready and heading out to my haircut appointment. It’s been a lot better than the freezing temps from last week, but it was still like 32 today so not exactly warm. I decided my best option to get there was to walk a bit to a bus that goes right by the Ulta, so I did that. I arrived a few minutes early so I browsed the products for a few before heading back to their salon area. I always love seeing my salon person because she’s super great and we always have a great time talking while she's doing my hair, and we had lots to catch up on since I hadn’t been there since July (since I’ve kinda been letting my hair grow out). Today was basically just to make all of it more even because it was a good deal longer in the back than in the front, so we got it more into a traditional bob cut which is generally my preferred hair length so I’m pleased with that. Once we were done I went back to viewing their products because I had a few things written down that I was looking for, so I picked up a concealer from them that’s supposed to be really good and a bottle of lotion because I’m almost out of the stuff the allergist told me to get. So I checked out there, then walked down to the Sephora down the street, because one of the things I was looking for was Sephora brand, so I couldn’t just get it at Ulta. I was looking at eyeliner options and such at Ulta but decided to hold off till I get to Sephora. So once I got there I found the lip stain pencils I had been looking for (I can’t like, do anything lip color that has any scent whatsoever because my body hates me so I can basically only use lip stains) then talked to some employees a bit about finding a black eyeliner that wouldn’t kind of smear down my face as the day goes on and a mascara that was a bit less clumpy than the one I was using. I felt bad because I was coming in and complaining about what were basically their top of the line products (I had been using urban decay eyeliner and better than sex waterproof mascara) but they just kinda laughed at that and said it was really fine, the better than sex mascara is their top seller but if you asked any of the employees in the store for the best one, they probably wouldn’t pick that. But they got me hooked up with some good options that I was able to test (sanitarily, thankfully, they seem to have that down) so I got those along with the two lip stains, and picked up a tiny bottle of hand lotion to keep in my purse from the check out line. Once I was done there I had to walk a bit over to where the nearest Sally’s location is, which happened to be closer to my old job than I thought it was (I could see the building from the front of the store) so I was kinda 😑 about that but oh well. I was looking for the same bleach kit I got there back in like, 2015, the last time I had lightened some streaks in my hair, and after some consultation with the employees I found it fairly easily and got that. At this point it was threatening to ice storm starting within an hour or so, which meant if I took the red line home by the time I would have to make my 20 minute walk home there’s a fair chance I could get stuck walking through an ice storm, which I would definitely like to avoid, so I went ahead and got an $8 uber pool which worked out nicely. There were two other pool people, one of which was loudly on her phone for pretty much all of it, and once she got off the driver started laughing and telling us everything that was going on before we got in the car and it was pretty funny. the uber app again attempted to drop me in the middle of the street where I’d have to jaywalk across a fairly busy road to get home, but I was paying attention to the app and asked to just be dropped off at the corner before that, which they thankfully did, so I appreciated that (at this point I’m like, should I like write to uber about this?? because it’s definitely a safety hazard, like I’d probably be fine but if it’s doing this to other people they could end up in a very bad situation, but idk if it would actually make a difference, sigh). Got home and unpacked all my stuff before going to the couch with my laptop where I finished the rest of the episode about crazy cool homes I had been watching on netflix before switching over to whatever the news was saying and just leaving it on there for a bit. Jess wasn’t planning on coming over because it was supposed to ice storm. but apparently it never actually did....so she came over and we ordered sushi/Japanese food (because we’re literally always on the same page about food lol. She hasn’t been keeping up with The Flash but was two weeks behind on Arrow so we watched last week’s episode before watching last night’s episode which we missed. It was a rather peculiar episode I would say, I don’t know how I feel about the whole documentary format, I didn’t really feel like it added much to the plot (thought I did appreciate seeing at least 30 seconds of my girl Sara on the screen). The plot with William was kinda weird, then of course there was the flash forward at the end regarding the documentary and someone named “Connor” (as in Connor Hawke) which would make a lot more sense as a timeline that it would reasonably be John Diggle Jr. than it did when he supposedly showed up in 2046 and was definitely not pushing 40. Once we finished that we were kinda meh about anything else we had to pay too much attention to because Jess was writing and I had been trying to figure out how to get my podcast mic to work since the other pieces came in today, but unfortunately I’ve been entirely unsuccessful so far, I ordered another piece that some online sources said will solve the problem, so I’m hoping that will work, because I’m pretty much lost as to how to get it to work. So for these reasons we turned on netflix’s Sabrina show which we’ve been casually watching without putting too much commitment into, so we finished the last episode we were on then got about halfway through the next one before the blu ray player started wigging out and not working, so at that point Jess headed home and I switched over to live tv, just in time for the democratic response to the SOTU address, which I was very intentionally not tuning into, but I thought the response was pretty damn good, especially compared to the one the democrats gave after president douche’s last televised speech. From there it led onto news which I let play for a little bit before starting to get ready for bed and hopping in the shower, and now I am here. I am quite tired at this point since I did get to bed awfully late last night and didn’t sleep in all that much, so I would very much like to be asleep as soon as possible, so I’m gonna do that now. Goodnight babes. Stay lovely.

[selie1412-blog]

 Lets see how many Waluigi fans I can trigger with this post. Super Smash Bros Ultimate will be my first video game review. I believe everyone of there internet is familiar with this game series by now. If not, then what rock have you been living under for the past 20ish years.

The review will be split into two parts. First the review for the storyline, and then the review for the multiplayer section. It will become obvious as you continue reading. I sure hope you do so...

Spoilers of the story mode will be shown below. Proceed with caution. 

Super Smash Bros Ultimate: 

With an arsenal of 76 fighters to choose from and various assist trophies, cough Waluigi cough, from many different games and pokemon to also join in the battle the possibility for this game seems endless. Although, then Mr. Sakurai of course had to go above and beyond literally everyone’s expectations to add the spirits section which includes characters from countless other games, adding approximately 1200 new characters to the game. (I know that there is more than this, but the last hundreds is just spirits of all the fighters so I was not counting them.)

Summary: 

The World of Light story mode for Smash Ultimate takes place when a new villain, Galeem, eliminates all the fighters and brainwashes them into serving its needs - basically turning them into his puppets. This all goes along to its plans except for the precious start child, Kirby, Mr. Sakurai’s beloved creation (well other then the entire Smash series). Kirby is then faced to *read in Morgan Freeman's voice* save the entire world! Then after beating Galeem for the first time a new villian emerges from the darkness, Dharkon, who seems to hold an impressive grudge again Galeem. The two seem to be in a constant battle with the recovered fighters only watching from the sidelines as their battle takes place. 

For the multiplayer section of the game the format of it has changed drastically from Smash 3 and Smash 4 respectively Smash 3Ds and Smash Wii U. The rule section is now a mandatory passage into the game and the stage selection now comes before the character selection. The rules also can not be changed once you select them unless you back out all the from the match to change them. Multiple other features have also been implemented such as smashdown and a tournament mode. Spirits can also be used in multiplayer battle as well between friends.

Review:

I have to give some kudos (Shinichi AUGGGG!!! Sorry little fangirl episode. I apologize for the interruption.) to the story line overall. The plot was something unique and unexpected, and oddly entertaining considering the sheer lack of cutscenes and lore to go along with it. Being able to come up with a interesting storyline like it has after the Subspace Emissary is quite impressive. When watching through the Smash Directs waiting for the game to release I absolutely knew that there was going to be a new story mode to go along with this game, but I was unsure on what exactly it was going to be because the Subspace Emissary seems almost perfect. The World of Light appears to be a battle of good and evil where one can not appear without the other, yet can not survive without each other. I believe MatPat's description of the lore can be one possible interpretation of the story mode, but I also believe that there are others as well. In creating my review of this integration I did use The Game Theory’s theory for some inspiration and guidance, so I will be drawing off of that as a source. 

Galeem and Dharkon physically seem to represent light and darkness respectively, so it would be obvious that they would be enamines. Then why do they both encapture all of the fighters who are supposed to be on the good side. Why would they both do so. Well the short and simple answer of that is that, as the cut senses show that is not the point. In the aspect of Galeem and Dharakon the fighters are meaningless, they have no value. Going back to the origin of it all, the fighters are supposed to simply represent a child playing with them and bringing them to life. In a matter of light and darkness the person playing or controlling the figure decides on how that they will behave. By the fighters being abducted by Galeem and Dharkon itis a simple change of hands. I mean even Master hand, general of Galeem, and then Crazy Hand, general of Dharkon, can easily represent order and discord. Each are traits of it varios counterparts. We, the player, are simply spectators watching a match between rivals of sorts. Each side has a general, 3 captains, various amounts of sargents (being the abducted characters), and then plentiful amounts of pawns (being the Spirits themselves). This battle we witness between the two is an war between light and darkness. 

The ending of story more is only obtained through defeating both Galeem and Dharkon at the same time. This is the true ending which will set all the spirits free. If only defecting a single one then the other will destroy the world. Each which is called the bad ending. This true ending then meaning that light can not exist without darkness and then darkness can not exist without light. If simply darkness exists then the world will be thrown into chaos and discord while is only light exists then nothing would get done and everything will cease to exist. A balance is needed for harmony to happen. Throughout the final map of the game as spirits were defeated Galeem and Dharkon constantly fought for power to overtake the other. The player, not shown, represent this balancing act. The act of calming and defeating both of the large giants restored order to the world, adn allowed life to continue. Quoting Kingdom Heart, (Its a good game series lay off!) “ The closer you get to the Light, The Greater Your Shadow Becomes.” In order to maintain a balance as light grows the darkness should also grow. As the balancer in the game you are returning balance to the world that was taken out of balance when Galeem first tried to overtake Dharkon by taking all of the fighters into its own ‘hand’, and then when it was taken out by the balancer the shift in powers went over to Dharkon who’s power rose. Think of it as a see-saw, as one side rises the other sinks, but if you then release the side the rose it will then sink and the other side will rise.

(Wow! That was a lot of writing just on the lore, lol. I congratulate all who actually read through that.)

The playthrough of the story mode itself I was sadly a bit disappointed int. With The Subspace Emissary you could play multiplayer and there was even some playforming that characters could travers. I was sad when both of those features were taken out of the game. The graphics of the story mode itself was impressive though. I could see the real dedication to each aspect of the map, and how they tried to fit each portal area to a certain theme to a game. Like there was a Monster Hunter area, Bowser's Castle, Legend of Zelda, and a Castlevania. The avatar of every single character was impressive as well. I mean creating all of the sprites especially fro this one small thing was no small feat, so that trait I appreciated. I know the big theme for Smash Ultimate is, “Got to go fast” as quoted from the Sonic the Hedgehog series, but sometimes its a little nice to stop and smell the roses. Like in the story mode! I would honestly sacrifice about half of the spirit battles in spirit mode to have some fun platform levels of some sort. Even if it was just put in as minigames I would be happy. Like Hit the Target or Find the Exit from melee, or maybe even just reskining some of the platform levels from Subspace with a HD addition to it and throwing it into World of Light. Any of that would be amazing! I believe that added a lot of fun to the overall story mode itself, and it was one of the main reasons that made me actually want to replay and beat the story mode multiple times because it was something a bit different from the rest of the game. It made the story mode very unique, and it made it stand out.

As for the multiple player section there was a number of new additions and fighting formats that actually improved the overall experience and gameplay of it, but there was also some aspect that made me frustrated at. My favorite aspects by far was the implications of the smash down and tournament sections. The have finally added a tournament section, and that makes me soooooo happy! I no longer have to make homemade tournament charts!!! T^T The shashdown is also very helpful to play with people who are really only good with one person, and that one person can pretty much wipe you out no matter what you do. It adds a lot of fairness to the game which succeeds in making it a lot more fun for the people out there who are good at a lot of characters, but not really good at just one (I actually sit in between these people. I have 3 mains who I like to fight as a lot, but I am decent at pretty much everyone else in the game. Well except for Mr. Game and Watch and Olimar. My mains by the way are: Mewtwo, Ganondorf, and Lucas.)

My main drawback with the multiplayer section of the game is actually how the rule selection is set up. For tradition Smash mode you have to go through the process of first choosing your rules for the match, picking you stage, and then choosing you fighter. This is path you always have to go down when entering in the smash mode after exiting the game. if you finish a match it just takes you back to the stage selection section. The problem exists when you finish a match, but you realize you made a mistake in the rule creation. In order to fix it you first have to back all the way out of the match, then open up the select rules tab that you specifically created for this match set, then edit what you want, finally save it, and then back out after selecting it and proceeding onto the rest of the match. Now this would not be as much as a problem if you were able to set a rule tab as default, so you could enterally skip that one step and continue onto the match. Also, if you were allowed to edit the rules while inside the match selecting process such as when you are choosing you stage because you forgot to turn off the stage morph or stage hazards or you start selecting you character and realize that the match is still on time and not on stock. If these features were implemented then the rule section would only need to be opened when it was needed to create a new set of rules. I am not saying that I dislike the aspect of creating a custom set of rules to use for match because I think that is a very nice user friendly option for the players, but I do think that it need a little more work to be better. This is a new feature that just needs a few bugs worked out, and the it would be perfect.

For the fighters and the battles themselves, I have stated previously that the theme of Smash Ultimate is, “Gotta Go Fast,” so that is what everything is. The speed of all the characters have improved - making all the heavy characters now usable competitively - as well as the final smashes. This speed change has really made the game itself into the fastest, most adgil, and adaptive are the best. So it is no surprise that Sonic, Mewtwo, and Inkling has all made it into the top tiers for being if not the fastest, most adgil, and adaptive characters in the game respectively. The final smashes on most of the characters have changed in one way or another, some for the better and some for the worse.  There is now a feature also to do diagonal air doges as well which helps out considerable for air movement and combat. Also the idea of perfect shielding has been improved, so it grants the player a chance attack the opponent when their defences are down a bit. There is not really much else to say in this area.

I am not going to touch on the classic mode much or the all-star mode much because they are pretty much the same as the previous game. Classic mode you fight about 6 battles with the last being either Master Hand or both Master Hand and Crazy hand at varying levels of difficulty. All-star mode is continuous matches with short breaks in between which goes on until you fight and defect every single smash fighter. I will only say this, which I have already stated before, I missed the small platforming levels inside Classic mode. It added something different to the overall flow which was a nice change of pace and mixed up the game some. 

Overall Smash Ultimate is an amazing game that has blown not only mine but everyone elses socks off. From the vast amount of characters included to the thoughtful and in depth storyline, and all of the new features that it includes. I sincerely believe that Mr. Sakurai has outdone himself, and is in need of a well needed vacation. He has done an amazing job at trying his best at making every fan and every series present in this game feel loved. With all of that though I will be honored to give Super Smash Bros Ultimate an astounding score of a 9/10. Splitting each part up into its various categories the World of Light Story mode receives a not too shabby 8.5/10. This is because of the lack of platforming areas (tear) and for the lack of official lore or true story line which has left a lot of fans trying to actually deceivers what it means, me included (given my own interruption above). Then with the multiplayer section receiving an impressive 9.5/10. Only docking off points for the wonky rules section which could possibly be fixed in a later update. 

Once again thank you very much for reading my update. If you actually succeeded in reading all of it. I apologize it was a bit long this time around, but there was a lot of content I had to cover.  If you have any further comments or additions I may have missed please put them in the comments below or simply PM me. Again, I will state this every time, if anyone has any requests for anything they wish for me to review in the future please once again post them in the comments below or PM,

Finally, if anyone is interested you are welcome to join my discord server where we will talking about various anime, manga, video games, and other sources of media. I have posted the link below! :)

 https://discord.gg/tvBR8Jn

[hasmercy-arc]

alright under the cut is what i think is gonna happen in the one confirmed jesse and becky episode we’re getting under the cut

alright so this is based off of a banner that we could see in the background of some bts stuff posted to instagram a few weeks back. they’re really bad quality images i was able to grab bc they came from videos but i’ll take what i can get

so onto what we can decipher from the banners (there’s two but they both say the same thing but bc of angles and stuff i could read some stuff of one and other stuff off the other). these tells us quite a bit about the plot of the episode simply based on the event that is happening

the first and most obvious thing about the event is that it’s an awards show. various text that i can work from the images i grabbed include:

‘bay area small business something something’

‘where the finest in their fields get their something something’

‘you are the heart of our city, your businesses shine bright’

‘hosted by pop star jesse katsopolis and his wife becky katsopolis’

even though i wasn’t able to work out what all of it said, it does give us a pretty good indication of what is going to happen in the episode

so first things we’ve got an awards dinner for small businesses in the bay area. does ‘harmon and fuller pet care’ sound familiar to anyone? clearly it means that the business or dj or matt or any combination thereof is nominated for a small business award

which is all well and good. good on dj and matt for doing well in their business

it’s the next point, however, where things start to go downhill and that’s who it’s hosted by. i didn’t just format the hosting part above for the fun of it, that’s how it’s written. in fact, becky’s name has got to be around half the size of jesse’s.

remind me again, who has been hosting television over thirty years now?

who worked on a national morning show before her cohost stuck her foot in it?

oh right

becky

becky the journalist who even after over twenty-five years of marriage uses the professional name of ‘rebecca donaldson’

yes i know that jesse did host radio back in the 90s but since fuller house has come back they said in one episode that he was working on ‘general hospital’ then said he was unemployed in another (which i don’t discuss normally but we are discussing the actual show atm) so where in all that is jesse a bigger deal than becky in that sort of professional sense?? and where does pop star fit into anything at all? no offence jess but you had one hit in the early 90s and that was in japan. set people is that really worth highlighting as the key thing of who jesse is??

at the very least the sign should have said ‘hosted by jesse and rebecca katsopolis’. the fact that it doesn’t is going to be one of the ‘ughs’ that are going to happen when this episode drops

moving back to the plot of the episode and what will likely happen, dj and matt and their business are up for a small business award and jesse and becky are hosting the ceremony

but of course a day can’t go by in which the fuller house writers can’t consider for a moment that even after over twenty-five years of marriage that jesse and becky don’t have to fight all of the time. so that will be ongoing throughout the episode from the moment that they walk into the house, jesse walking ahead with a ‘hey now’ as he undoubtedly leaves becky to carry and look after pam

this bickering will continue onto the awards ceremony and they’ll be fighting on stage because what is being professional when jesse and becky always have to be fighting?

from what other images i saw of the episode dj, matt, steph, kimmy and fernando will also be in attendance at the event and they’ll be sitting at one of the tables

so when jess and beck are busy mid fight the likes of dj or steph will cough to get their attention and remind them where they are and next second we’ll get dazzling jesse and becky smiles as they gloss past the fact they were just fighting in public when they’re supposed to be working

moving back to the awards ceremony that’s taking place which jesse and becky have conveniently forgotten about during their fight. there’s no doubt about it that dj/matt/their business will win one of the awards because why else would they be having an awards ceremony like this and have it hosted by jess and beck??

throw in an ‘yay we won’ hug between dj and matt that turns into awkwardness because last time i checked dj had still chosen steve over matt and ofc the show won’t be able to let that go and cue more drama from that

so there you have it. that’s what’s likely going to happen in the episode. i might be wrong but i guess we’ll just have to wait and see

[odanurr87]

Watching Voltron Season 7

This summarizes my feelings on the season quite nicely.

I’m trying something different this time around. Instead of reviewing the season as a whole -something I might do later anyway- I decided to provide written commentary on each and every episode as I watched it. The quality of the comments will vary and you probably shouldn’t take them all too seriously (especially if you really liked this season). If it looks like I’m giving Season 7 a hard time, it’s probably because I am, but know it comes from a place of love (maybe). Having said that, I have to warn you that: a) I’ve not provided context for all of my comments, you’ll just have to figure out what I’m talking about at times (fairly easy, particularly if you’re watching the episode at the same time); and b) there are lots and lots of spoilers!

So, sit back, relax, and let’s watch Season 7 of Voltron: Legendary Defender, shall we?

Episode 1: A Little Adventure

Keith and Shiro’s story should’ve been shown earlier than S7. It might’ve helped me like Keith a little more. It’s a great flashback, but it feels a little rushed.

The humor is not really funny and it doesn’t gel well with the more solemn story of Shiro lying in a coma fighting for his life.

Pidge decides to check his comms at a completely random moment.

Okay, the “literal bait” bit was funny.

Episode 2: The Road Home

They let Lance decide passenger arrangements?

Mice-selfies!

The passsenger arrangements was a funny bit. Thankfully, it didn’t overstay its welcome.

Did everyone have to explore the Blade facility? Nobody thought of staying with the lions just in case?

“We’re under attack.” Read above.

The wolf is deciding the arrangements now. I’m okay with that.

You can’t defeat a few fighters without forming Voltron? Wouldn’t that be more energy-taxing than firing lasers?

“We run.” Why didn’t you do that in the first place?!

Hunk. My man!

Episode 3: The Way Forward

Why are we back to goofy Lance?

“We’re destined for greatness.” Yeah, right. Wouldn’t be surprised if one of you kicks the bucket before the end of the episode.

Baddie is terrible at interrogation. Your prisoners have just answered your question.

Coran’s antics are not funny.

Bayards can teleport, huh? Would’ve been nice to use that trick in the cell.

Yup, they’re dead.

Eh, three-year time lapse. No biggie.

Episode 4: The Feud!

This isn’t funny or interesting, just boring. Sorry, I’m skipping this one.

Okay, that closing music is the best thing of this episode. Of course, bear in mind I skipped to the ending.

Episode 5: The Ruins

Seinfeld? Why are we wasting time like this?

Remember what happened the last time we deviated from our voyage?

Hunk gets it.

Yes, abandon the lions… again.

That reveal was way too fast. The guy’s story was more interesting than this.

Isn’t Lance supposed to have a broadsword?

So you had the Voltron team escape the force field so they’d be incapacitated by Macidus... again. What was the point?

I was kinda hoping Keith would say, “It’s okay, I’m used to it.”

Episode 6: The Journey Within

I’m still not sure how going to Earth is gonna help them replace the Castle of Lions.

Their Paladin armour protected them but the lions are frozen? I’m thinking too much.

Hunk’s already softening the blow for the Paladins getting replaced?

Well, this is riveting stuff. And I’d still have this episode over all the previous ones.

I doubt people would react this way but who knows. Keith is back to being an asshole. Just as I was warming up to him.

Well, I guess we couldn’t have an episode without something trying to kill the Paladins.

That speech feels a little out of place now, Keith. Just a tiny bit.

Guess they have energy now?

New configuration. I dig it.

And about damn time too.

I was expecting more from an episode with this title.

Episodes 7 & 8: The Last Stand, Parts 1 & 2

Okay, I may be nitpicking, but couldn’t we have left the flashback for the reunion?

Sanda seems reasonable, for now anyway.

This episode is picking up the slack from the previous ones. Nice.

It surrounds us, it penetrates us, it binds the galaxy together.

Okay, if I were a guy at this briefing, I’d have a hard time believing any of this.

I see good points on both sides here. Compromise: why not inform a few governments and start from there, similarly to what they did on Stargate SG-1. Broadcasting this to the whole wide world without a plan seems terribly irresponsible.

Voltron’s own Area 51. Cool!

Are these guys going to be the new Paladins? I sure hope not.

In all this time you didn’t even contact a single government? Are there even governments in this world? It’s not about emotion, it’s about resources, dammit!

If getting kicked out of the garrison was your biggest concern, I say go for it.

“The cat’s out of the bag now.” My thoughts exactly.

Whoa, I guess it’s true what they say, everyone wants to rule the world.

I’m pretty sure what you wanted to say was that there are mass riots and widespread panic out there, right?

I’m sure glad everyone else in the world has that nice and shiny particle barrier.

Oops, guess they didn’t.

Why the f*** is Sanda so stubborn?! We tried it your way and everyone died. Surely we can’t do any worse than that?

Every other place that didn’t have your shiny new tech got wasted, no kidding.

Sam really wants to rule the world, doesn’t he?

Yes, he does, he’s just gonna wait for the lions to show up. Doesn’t take a genius.

I can’t believe I’m saying this but, so far, the best episode of this season hasn’t featured the Paladins or Voltron.

Meet Veronica, the new Black Paladin.

Why reveal your presence like that?

Query. They designed weapons that are effective against Galra ships but not against Galra troops? Seems like an oversight.

Don’t worry, they’re not about to kill a badass character off like that.

Told you so.

Okay, I’m slightly more willing to read about what happened on Earth while the Paladins were away in comic book form. Slightly.

Oh, Lance’s sister. Hot.

I’m not sure that… Well, what do you know, it worked.

The next episode, Keith, the next episode.

Episode 9: Know Your Enemy

How exactly are you blocking- You know what? Forget it.

And that’s how the Paladins were killed! Kidding.

Introducing New Keith 1.0.

That door seems like a weak point.

Confirmed: Pidge can fly.

New Keith 1.0 is jealous of Keith 2.0. The plot thickens.

I had completely forgotten about Adam. Way to go killing him off like that. Couldn’t you have featured him in a couple more episodes at least? As it stands, he was entirely superfluous.

New Keith 1.0 is even more of an asshole than Keith 1.0. Someone punch him for me, please.

Sanda has been unusually quiet. I don’t like that.

Space Battleship Yama- I mean, Atlas!

Seriously, handing over the lions at this point would be dumb beyond measure. It merely leaves you at the mercy of the Galra who’ll backstab you at the earliest opportunity. Why are we even discussing this? Are we really going to make Sanda a baddie now?

“We need intelligence and we just don’t have it.” She’s absolutely right, just not in the way she thinks.

What was that? New Keith 1.0 went from being a jerk to a more or less decent guy in less than an episode? What’s going on here?

Hunk couldn’t rescue his parents. I’m surprised this show was that bold.

Episode 10: Heart of the Lion

I don’t understand any of what just went down. So an Earth power source makes an Earth prosthetic go berserk but an Altean one won’t? Are there evil power sources in this universe now?

Also, that arm’s missing a half. Just saying.

Admiral Sanda’s back to her senses. Good.

Yes, call your brother an idiot for showing concern. That’ll show him!

A tiny nitpick: why not use the wolf to teleport around?

Confirmed: New Keith 1.0 is no longer a jerk.

Teamwork!

Allurance moment. I ship it.

That scene with Pidge and Keith.

Zai-what?

Damn, Sanda’s all about the problems, isn’t she? How about a solution every once in a while?

How did they do that again?

It’s a bit of a gamble but it’s better than sitting around and doing nothing.

That Tenzin moment!

Lance 1.0 would’ve boasted about it. Just saying.

Um, why is Red not responding?

Great visuals, great music, great scene.

Drama! To be continued… or maybe not.

Those troops are terrible shots.

Cut it with your sword, cut it with your sword!

Or that works too. Were we holding back Red just for the sake of drama?

That was… awfully fast of the Galra.

Oh, no, don’t you tell me that... For f***’s sake, that was idiotic! You’re helping the guy who has built planet killers instead of the people trying to take them down?!

No formation sequence and music? This doesn’t bode well.

Can energy beams be bended like- Ah, forget it.

Personally, I would’ve cut off the episode at the blast, maybe even the season. Kills all suspense otherwise.

Episode 11: Trial by Fire

This marks the second time the lions get captured this season.

“We made a deal!” Famous last words. My eyes are rolling.

The bad guys are leaving. I wonder why? #sarcasm

The main villain lied to you? No way! This must be a mistake! Also #sarcasm

To kill everyone I presume.

Bingo.

We only now remember we have a crystal than can act as a power source?

Magic.

Um, why is everyone looking at Shiro like that? Just roll with it.

Now, if the Atlas were destroyed right now, that would be funny! I have a wicked sense of humor.

“Take them out.” A little late for that.

Ah, the redeeming arc begins! I foresee someone dying.

The ship “gained abilities”? I’m just gonna say it: magic.

Just kill her. I mean, she’s gonna die anyway. It’s that kind of arc.

Told you so.

Episodes 12 & 13: Lions’ Pride, Parts 1 & 2

Voltron formation music is back but with less punch.

Voltron’s finally kicking ass!

Why are we surprised that Sendak is going to destroy Earth?

I don’t mean to be rude, but that’s a (relatively) stationary cannon, and they probably don’t have enough mirrors up in space to track all of Voltron’s movements. Voltron shouldn’t have any problem dodging those blasts.

So Sendak’s willing to destroy his own ships to get Voltron? I’m game! Let’s rush from cruiser to cruiser! At least they’ll provide temporary cover.

They’re letting the Paladins move around the mirrors untouched?

Why not reflect the beams back at the cannons? Just a thought.

“Commander, they’re deflecting the beams.” Um, send someone to take the lions out? It’s not like you’re short on ships.

Why not simply blow up the crystal? You did bring explosives with you, didn’t you?

“Victory or death.” Why not simply transfer command to another ship?

I’m just going to pretend I didn’t see you on the hull of that ship, Shiro.

MORTAL KOMBAT!!!

That was a surprisingly smooth landing, all things considered.

Death it is.

Another Allurance moment.

Okay, why is this Part 1 again? Looks like everything was rounded up nicely.

Looks like I spoke too soon.

You’re overdoing it.

Ah, for the love of... Another mega-robot?!

I’m with Allura, this season should’ve ended in the previous episode or at episode 10.

I don’t know what the Komar is. I skimmed through previous seasons.

What happened to “we can recharge Voltron ourselves”?

Really? Somehow this robot is more powerful than anything we’ve ever seen? My eyes are rolling again.

Magic returns to save the day.

You’ve got to be kidding me, you built a ship that can somehow turn into a giant robot and you didn’t know?!

Okay, no, stop, this is beyond ridiculous now.

Weren’t there civilians around?

I seem to recall saying you were overdoing it. We’re way past that point now.

Why not return to Earth as soon as you’ve pushed that thing into space? I forgot, drama.

If they die, I’ll take everything back.

Lions still there so they didn’t.

Nice speech. Not feeling it though.

I’m saying it right now, Season 8 should jump forward in time several years.

Acxa! I had forgotten all about you. Seriously, when did we drop you?

Lotor’s been a very naughty boy. So much for time skip. It really was the way to go after this season.

[chickenscratchingdotcom]

Turning an outline from a list of plot points into a scaffolding that you can use to build a story

by Hugh Sullivan

chickenscratching.com

chickenscratchingdotcom.tumblr.com

Note: this is an article I wrote last year for NaNoWriMo, with the intent of publishing it then. For some reason it never got published, so I figured I’d start out some very pre-NaNo posts with this now.

I could write an entire article on the various ways of coming up with an outline... but it’s been done. A lot. Which is what I found when I started preparing for my first attempt at completing a full novel for National Novel Writing Month (or NaNoWriMo for short).

There are dozens of methods for coming up with an outline, maybe as many as there are writers. Some methods get reused a lot. Randy Ingermanson’s snowflake method is great for expounding something into a pulp-style 4 act format, and I used my own personal take on the concept to do the outline for my first NaNoWriMo story. Snyder’s ‘save the cat’ or Campbell’s ‘hero’s journey’ beat sheet is good for adventure stories. A sprawling list of clues, red herrings, and possible deductions to be made in different situations can be used for a mystery story. A list of obstacles and how to overcome them can be a barebones outline for everything from a children’s story to a romance novel to a sprawling science fiction epic.

The first year that I did NaNoWriMo, I thought an outline would be enough. But a week before November started, I looked at my outline and realized that I still didn’t know how to make it go from an outline into a story.

So here’s what I did, and I hope this will help you too.

Step 1) Map out your foundation

The very first novel I ever wrote for NaNoWriMo (or at all, for that matter) was written in a very episodic format, made to be published serially in short audio format, and then as a whole novel afterward. The main story had four acts, each act had four chapters, each chapter could be divided up into four 10-ish minute long podcasts. (Should I choose to make four books in this series, then I suppose the structure will be completely fractal at that point) This made it easy for me to separate out each episode to do this step. However, not every outline is going to be as clearly delineated. You may have to go through every point in your outline, or you may be able to find small logical groupings of events.

Then you start listing out what each section actually does for the story.

In general, the early parts will involve setting up the characters, world, and plot. Later chapters will illustrate more about the characters, move the plot along, and show how the characters change and grow.

For example, here is a basic example of a chapter outline from my first NaNoWriMo novel. My original outline had a basic overview of each chapter, and four separate points divided up into what would happen in each ~10 minute podcast.

 Chapter 1) Jacobs washes up in Crown Bay, setting the story in motion

•        Jacobs washes up on shore in Crown Bay. Jim Leatherby uses a magical item and finds him.

•        Jacobs gets drunk, screams at a statue commemorating the massacre ten years prior, then gets cornered by guards and subsequently rescued by Jim Leatherby.

•        Jim brings Jacobs somewhere quiet to get sober, and then recognizes him.

•        Cut to the governor’s office in the city. The governor confides in his right-hand man, Commodore Briggs, that he’s near breaking down. He lost his wife during the massacre ten years ago, he can’t afford to lose his daughter. Briggs brings him the good news that Captain Jacobs has been spotted, and he takes a group of soldiers to find him.

 Once the outline of this chapter was done, I went through and wrote down all of the functions that this chapter served in the novel.

 Functions of Chapter 1

•        Hook the reader into the lead character and world.

•        Introduce the reader to the two protagonists.

•        Introduce the idea of magical items in this world.

•        Show that Jim has a very simple life, and that the magic item he possesses can lead him to find adventure outside of that life.

•        Show that Jacobs is in fact the captain of a pirate ship, not just a sailor who fell overboard.

•        Show that Jacobs is well known enough that the governor would be looking for him, and leave the reader with enough questions as to why to keep them reading further.

•        Show that this town has a history, and link that history to why Jim is an orphan and Jacobs left to became a pirate.

 Most of these functions will seem simple and obvious to the writer of the outline. Even so, it’s good to actually list them out so that you know what your foundation is supporting. Now that we’ve mapped out what the outline currently supports, we move on to the next step.

  Step 2) Figure out where to place your support beams

Every story has basic needs that need to be fulfilled. A story needs a beginning, a middle, an end, and action or conflict to move itself along while keeping the reader engaged.

The basic outline of my novel was a very simple four act structure, similar to the potboiler pulp stories of Lester Dent and Michael Moorcock. In the first act, the world, characters, and the adventure were introduced. In the second, the characters found themselves embroiled in that adventure. The peak of the growing adventure hits between the second and third act, where the characters have to choose whether to blunder on or give up. And by the end of the third act, they have found themselves in so deep that there is no longer a choice. They have to see their way to the end. (Those who have looked into popular story and act structures may recognize this as somewhat similar to the current Hollywood 3-act structure, and both styles are compatible with most popular beat sheet formats as well.)

That meant that for my story, the basic needs for each act were simple. I needed to hook the audience at the beginning with an interesting world and characters. I needed to keep building the story in such a way that it kept people tuning in for the next chapter or episode.

But every plot point creates a set of needs as well. Let’s say that in your story, part of your plot entails a group of people traveling into a dangerous area.

So now you add to your list of story needs:

•        Show the reader that the area is dangerous

•        Show whether the characters know it’s dangerous.

 There are also some more subtle needs that you may not think of right away, but once you get into the habit of looking for them, you’ll find them fairly easily. Some of them may not have to be in any one particular place in the story, they may simply need to be inserted somewhere before the point where they are used in the story. Think of this is kind of a reverse Chekov’s gun. If a gun is needed at the end of the story, then make a note to show that the gun exists in the universe.

For example, when I realized that a minor character was going to be killed off at the end of the story, I decided that his past life before the story needed to at least be hinted at, if not expounded on so that when he died he could pass on some sage advice and maybe make some of the sappier readers get a little bit misty-eyed. (Not that I would know ANYTHING about that. Men don’t cry. Not even when a house-elf breaks his promise and sacrifices himself to save someone else’s life. Nope.) So that was added to the general list, as a note of something that needed to be worked in where it could be.

Some obvious things to put on the list of overarching story needs are things like:

•        Get the audience to know the characters well enough to understand their motivations and capabilities. (There’s nothing better than a villain whose motivations you understand... but can’t condone.)

•        Display the basic traits of the important characters and settings. (Even if your protagonist is going to be a boring everyman character for the audience to project themselves onto, the rest of the cast has to be three dimensional and interesting.)

•        Find some way to fill in any important backstory that’s relevant to the current plot. (Sometimes this may end in a simple flashback or prologue. But if you just keep it in mind while writing, you can often find a spot to weave it into the narrative much more naturally.)

•        Give the reader a question. (Who killed the butler?)

•        Answer the reader’s question. (It was the maid in the drawing room with the candlestick.)

Now that you have your foundation and you’ve set up support beams on it, it’s time to make sure that the beams can actually support your story.

Step 3) Build your crossbraces

Now that you have a list of what each chapter accomplishes, and what each chapter and the story overall needs, you can start going through and finding the holes in your outline and plugging them. Sometimes this is as simple a step as leaving yourself a note to mention something important in a character’s backstory. Other times it may require adding in a few extra plot points that you hadn’t thought of in the original outline. Something that you may have been able to do on the fly when writing, but now you don’t have to.

Keep in mind that even if you miss something in the planning phase, this method can help while writing as well. If you reach a block, don’t try to figure out how to get around it. Try to figure out what the story needs to continue. Does it need an outside force to make something happen? Or do the characters need to find their own way? This can be a wonderful spot to allow a person to step forward, do something to show growth and character, and help move the story along.

At one point in my novel outline, I needed a way for a character to escape after being tied up. So I made a point to mention in earlier chapters that he hid several coins in hidden pockets in a leather bracelet, and he was quite adept at sleight of hand, repeatedly making the coins appear and disappear. So when the time came, it wasn’t a shock to the reader when he produced a coin and used it to saw away at the rope. A simple bit of characterization early on saved me from a plot hole at the end of the novel, and simultaneously helped illustrate the character better for the audience.

Step 4) Start building

Now that your outline has filled in, you’ve got more than just a list of plot points. You’ve got a guide that you can use to write your story. A solid, but not inflexible scaffolding to build on.

For an example on how to use the guide in practice, let’s break down the plot point that I mentioned above. In this case, we’ll say that the characters are going to go into this dangerous area, and they will be made aware of the danger.

In the original outline, it would have simply said, “The protagonist, his sidekick, and the guide go into the Blasphort Desert.” Now, you have a bit more set up to write the scene when it happens.

 “Hmm,” the guide said, poking the ground with the toe of his boot. “Not good.”

“What is it?” the protagonist asked.

“Wyrling tracks. Their territory is close. Probably near the canyon, for access to water.”

The protagonist shook his head. “Doesn’t matter. We have to get through. And if we stray too far from the river...”

“Only one way to deal with wyrlings,” the guide said.

The sidekick piped up, “At least there’s something. How do you deal with a wyrling?”

“Run faster,” the guide replied.

The protagonist looked at the guide curiously. “I didn’t think you could outrun a wyrling.”

The guide shook his head. “Can’t. But outrun someone else, and...”

“Oh,” the sidekick said.

The protagonist put his hand on the sidekick’s shoulder. “Doesn’t matter.”

 Now when the scene is written, both the audience and the characters know they’re walking into danger, and some other needs outside of the scene have been fulfilled. For one, the audience now knows a bit more about the personality of the three characters and the danger that they’ll be facing. The guide is simple and straightforward, the hero determined but sensible, the sidekick a little more worried about the situation than the hero, and wyrlings are some sort of dangerous creature, but will stop to feed.

From my own experience, I’ve found that there isn’t a clever pun or turn of phrase that I’ve come up with that makes me feel half as clever a writer as when I write a short passage that manages to fulfill a half dozen story needs. And when facing the normal amounts of self-doubt that one faces while writing a novel, those moments where we as writers feel clever should be cherished.

   About the author

Hugh Sullivan has been a long time dabbler in writing, music, and tabletop and video game design. After a ten year hiatus from creative work, the voice in his head finally convinced him that not having a creative outlet was going to eventually drive him crazy, so he went back to school to do a minor in video game design, worked on designing a tabletop role playing game, started participating in NaNoWriMo, and composing soundtracks to accompany podcasts of his writing.

Ironically, doing all four at once may be a clearer sign of madness than following the advice of a voice in one’s head. Follow his work at his website, chickenscratching.com, or his slightly more active tumblr account, chickenscratchingdotcom.tumblr.com.

[reviewdoctorwho]

Marco Polo- All the Splendor Telesnaps Can Display

This is one of my favorite First Doctor serials, which is saying something since none of it actually exists. For those of you who aren’t aware, back in the 60s and 70s the BBC (among other channels) wiped a metric ton of master videotapes from many TV series, Doctor Who included. Since the First and Second Doctors were filmed exclusively onto videotapes, it meant that every one of their master copies were destroyed forever. Over time people have found copies of episodes around the world, artifacts left over from old BBC foreign broadcasts. Some serials, such as this one, are completely missing, while some others are missing just one or a couple episodes. Even more interestingly, sometimes in missing episodes there will be a snippet of someone getting shot or a monster blowing up or some other violent acts, because all that survived were the pieces cut out of the broadcast in foreign markets due to censorship. As a result of this wiping, a huge percentage of the First and Second Doctor serials only exist in reconstructions made with the audio (every single episodes exists as audio even if the master tapes were dumped) and telesnaps, screenshots of the recording television screen kept for record keeping purposes. Thanks to the people who piece these together, we have a very thorough idea of what these episodes would have been like, but we are still missing out on the hard work put into our favorite show back in the day. Every Classic Whovian has a missing serial they’d love to see completed, and for me it’s this one (it used to be Enemy of the World, but they found that several years ago and it is literally as amazing as I could’ve ever hoped for).

Synopsis: Interestingly, this story is narrated by the titular Marco Polo as he writes his memoirs. He begins telling an interesting story about the strange group of people he met in 1289…

The Doctor and crew land in the snowy Pamir mountains, their TARDIS completely broken and shut down after escaping the craziness that was the previous serial. They begin to investigate their surroundings, trying to find a way to survive and avoid the Mongols they discover looming in the area. The Mongols track them down and are about to kill them, thinking they are evil spirits who have just materialized on the mountain, when Marco Polo arrives on scene and stops them. The crew join Polo’s caravan, which is headed to see the Kublai Khan, and the Doctor tells Polo about his “flying caravan” and how it needs to be repaired so they can leave. Our four heroes are introduced to Tegana, a Mongol warlord on a peace mission to see the Khan, and Ping-Cho, a young Chinese girl whom Polo is escorting to the Khan so she can be wed to a 75 year old dignitary. Tegana and Marco Polo begin creating their own plots to steal the TARDIS- Tegana so that he can use it to destroy the Khan, and Polo so that he can use it as a bargaining chip to earn his freedom from the Khan- as soon as the Doctor repairs it. Over the next several episodes, the caravan moves across the Gobi desert, with the TARDIS crew trying to figure out how to escape now that they know that Polo intends to take the ship for himself. Tegana’s attempts to steal the TARDIS get more cunning and more violent, but he manages to escape blame on merit of his (seemingly) faithful servitude to Polo and the Kublai Khan.

Eventually, the crew makes it to the Khan’s summer palace. The Doctor meets with Kublai Khan and they end up becoming friends, bonding over their old age and all the issues that come with it. They start playing backgammon, and the Doctor makes bank but then bets it all on the freedom of his TARDIS and loses. After some arguments over who the TARDIS should belong to, our four heroes are locked up yet again and only escape when Ping-Cho and Susan tell them about a plan they overheard in the palace, a plot created by Tegana to sneak into the throne room and kill everyone, including the Khan. The crew escape capture yet again, alert Marco Polo, and they all head into the throne room to find Tegana having killed many a dignitary but subdue him before he can kill the Khan. Tegana takes his own life rather than have it taken by the Khan’s men, and as a reward for saving the Khan The Doctor and his companions are given the key to the TARDIS and allowed their freedom. Things even work out well for Ping-Cho, who is freed from her dreaded arranged marriage to the 75 year old dignitary when he is found dead after drinking an elixir of life (mercury). She chooses to stay with the Khan’s court and enjoy freedom in splendor. As the TARDIS fades away, Polo is granted freedom to go home back to Venice.

Background Info: 

This is one of the hard-historical serials that were present in the first season (which was 50% historical and 50% hard science fiction since it was supposed to be an educational show)

This is the first serial to feature The Doctor interacting with a famous historical figure

First serial written by John Lucarotti. Lucarotti had worked with show creator Sidney Newman on several of his largest shows both in Canada and in England, and he contributed three serials to Doctor Who, all First Doctor stories.

A photo from this serial was the first ever Doctor Who cover photo on the magazine Radio Times. The show and Radio Times have a long-standing history of cover features, and this was the very first one to receive the treatment.

This was the second and final directorial credit for Waris Hussein on the show. He was the director for An Unearthly Child and had been supposed to direct half of all episodes of season 1 (of which there are 3 more serials after this), but left because he wanted to direct more plays.

Opinion: I love this serial. Yes, at times it does drag on (I mean, how many times can shady stuff happen and people literally bring you evidence that Tegana did it before you start thinking they may have a point?), but that’s what happens in these old 7-part serials. The shame with these telesnap reconstructions is that you can’t see what they actually looked like in action. The shots of the sets, especially with regards to the caravan, are so lavish looking. I imagine that if we had the actual episodes in full it may not look as opulent, but it is far and away one of the best set designs we’ll see for a long time. Every character is incredibly strongly written and I love the scenes between Ping-Cho and Susan as well as Ian and Tegana because the actors’ chemistry is so great that you can feel it without even having to see it. Phil Sandifer points out an interesting quirk about this episode, one that I loved without realizing that I loved it until I saw it pointed out in his review. The characters in this serial that we encounter throughout the entire thing are surprisingly diverse. Even currently on Doctor Who we tend to focus on one culture and/or race at a time. Typically, if the Doctor is getting involved with a group of people, they are often fairly homogenized. In this one, however, we get a western man, a Chinese woman (although the actress is actually Burmese, but still, yay not-yellowface!), and a myriad of Asian characters (sadly, these are almost entirely yellowface. Gotta love the 1960s) all interacting with each other as they trek across the desert. I just think that this story is fascinating because the hard-historical episodes are pretty rare, making up half of the serials in this season but then dropping rapidly until there were no hard-historical ones anymore by season 5. Out of all the ones I’ve seen so far, this one is the first where I could really get invested in the history without being bored to tears. John Lucarotti used the actual memoirs of Marco Polo to create his story, and it shows. I definitely wouldn’t want to show this as anyone’s first Classic Who serial or anything, but once you’re comfortable with the tone and format I’d recommend giving this one a watch. Or, more accurately a listen. It’s on YouTube if you’re interested!

Favorite Moment: Like I said, I enjoy the whole thing, but let’s just all gather ‘round and enjoy these lovely colorized photos from the set that shows you just how amazing this serial looks.