inkandgasoline

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Were you lonely? 

Maybe.

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Please. Write it. Write the thing. Even if you feel like it's shit. Even if you think no one will read it. Even if no one reads it. Even if you think the words make no sense. Even if it breaks your heart. Especially if it breaks your heart.

Please. Write it.

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you think stiles, skinny defenceless stiles, is the nogitsune?

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Carry On

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PROTECT THE FAMILY.

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what do you think of me? where am i now, baby where do i sleep?

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Something I'm fond of saying is "The villain drives the plot but the hero sets the tone." Something that's very important about this is that the resolution to the conflicts presented need to match the hero's tone. If your story doesn't believe problems can be solved the way the hero wants to solve them... why is this the hero?

If you want your problems to be solved with brutal catharsis, then your hero should be someone who believes in brutal catharsis.

If you want your problems to be solved with forgiveness and reconciliation, then your hero should be someone who believes in forgiveness and reconciliation.

They don't have to begin there. This can be something they come around to over the course of the story, as they grow and change per their character arc. But by the time of their ultimate encounter with the villain, their values should be the values that drive the story forward.

There's this thing in D&D that some DMs do. Where, when you roll enough damage to deplete the monster's hit points, they'll turn to you and say, "That's a kill. Describe for the group how you take the monster down." And you're allowed to come up with some cool maneuver or something that your character did in order to deliver the finishing blow.

The hero's ultimate triumph over the villain is a lot like this. More than any other part of the story, this moment is their apotheosis. It should be a celebration of everything they are and everything they stand for.

You have defeated the villain; Now describe for the group what form that victory takes.

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this is a horror story

john winchester’s journal, alex irvine

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I’m rewatching supernatural, and I can’t believe I never realised this before, but sam and dean are the exact opposite of what they think of themselves. In the brothers’ eyes Sam is the more emotionally open one, or the one with more empathy, and yet he struggles to make close relationships that aren’t romantic. He keeps everyone at arms distance: john, mary, bobby, cas, and so many other examples throughout the series. Whereas dean is supposed to be closed off and emotionally stunted, and yet he has deeper connections with almost all recurring characters: garth, jody, donna, claire (obviously the ones mentioned before). He lets people in more easily than sam. Even how he knows all the shopkeepers in lebanon, whereas they don’t seem to know sam (ie 14x13).

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─ Joë Bousquet

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Brass knuckles Vi anyone?

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In this country of grief, the best kind of shelter is to be understood, to have someone stop next to me and, without asking anything, put their umbrella over us both, between us and the rain.

- V. V. Ganeshananthan, Brotherless Night

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i think the way the creators made vi have the two sides of her face represent her personality so distinctly is the most creative and perfect way they could of gone with her character design, one side is unscarred and hidden by her hair; can be shown how she’s gentle and able to be vulnerable to those she’s closest with, but only if she feels safe to let her guard down, the other side is scarred and revealed; how she’s portrayed herself to everyone, the strongest, the one who protects, emotionless, brave, and hot-headed altogether. her story lies just by looking at her, and i think that’s beautiful.

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I grew to care about Scott, but I loathed him throughout most of the show, and not just because he was a selfish, immature kid with more power than he should ever have, or because he was a terrible friend to Stiles, even though he was--but because the narrative bends over backwards to paint him as the pure, True Alpha hero who's always two steps ahead and always does the right thing.

The reality, IMO, is that Scott is incapable of holding the weight that's placed upon him. He fumbles it almost every time, and even outrightly abuses it. (Like when he makes out with Lydia, or--don't get me started on this one--when he forces Derek to bite Gerard.)

But the narrative refuses to acknowledge this. It doesn't actually allow him to be a selfish sixteen year old kid who doesn't comprehend the responsibility he carries--despite, interestingly, several characters calling him out on it (Jackson's Honda/Porche comment, Derek calling him a child, etc.).

According to the narrative, Scott's still always the hero, he still always comes out on top, even when he's careless, even when he treats his best friend like shit, even when he prioritizes his crush and dilly-dallies when actual lives are at stake. And because the narrative isn't willing to give his mistakes any real weight (or even acknowledge them as mistakes), his entire kid-to-alpha leadership arc just has the life sucked out of it.

And when you contrast that with Stiles specifically, who willingly takes on so much responsibility despite not having any of Scott's power, who constantly sacrifices his own safety for others not only because it's the right thing to do, but because he understands the weight of it all...

It's just frustrating.

Rewatching teen wolf, and Scott pisses me off everytime. He's such a shit friend to Stiles, he's always too far up his own ass to care about anything but himself or Allison. I'm only on season one and just finished the scene where Scott makes out with Lydia and then lies to Stiles about her liking him. Sure it's the full moon but like... Stiles deserves so much better than him. I honestly don't think I ever have or ever will like Scott.

Anyone else feel the same?

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4 hours practice

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