#it's basically 1 to 1 with the movie and they're so CREATIVE with how they portray the animated scenes on a single stage

[nexus-nebulae]

watching the spirited away stage play over and over just for the background spirits (and the songs)

[kingofthewilderwest]

We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

[lol-jackles]

I hope you enjoyed chasing those windmills 😁

I have read that Jared and Jensen are repped by different agencies, Jared is with UTA and Jensen is with Gersh.

How do these agencies rank in Hollywood and what criteria does an actor usually use to choose which agency to work with?

Also, Jared appears to have one rep. (Jason Heyman) and Jensen has three (Alexander Yarosh, Bob Gersh, and Leslie Seibert). Does it mean anything that Jensen has more reps?

I know nothing about how these agencies work (obviously) but am interested to know what the difference is.

I found this information on IMDb Pro, I can’t figure out how to link it I’m sorry.

Those windmills turn out to be faster than they look. Who knew.

The "Big Three of Hollywood” talent agencies are :

Creative Artists Agency (CAA). The biggest and most influential agency in town known for their A-listers and sports clients. Recently bought ICM, an agency mostly known for representing high-tier showrunners/writers like Shona Rhimes, so they're known for (sometimes infamous) packaging bundle. Many agents have left CAA to go to UTA.

William Morris Endeavor (WME). A merge between two agencies in 2009 created another powerhouse agency and upped their game in events management.

United Talent Agency (UTA). Probably the most adaptable agency that includes news broadcasters and comedy clients. UTA likes to boast they represent the "most watched and celebrated actors in film and television".

The 4th position (X) is a battlefield of competing mid-size agencies looking to possible merge: Gersh Agency, A3 Artists Agency, Paradigm Talent Agency, Agency for Performing Arts (APA), and Verge Agency. Then there are the boutique agencies.

Actors choose the agencies based on the work they want to do i.e. commercials, modeling, or television/movies. Some boutique agencies specialize in children actors so there are age ranges to consider. Talents send in submissions of headshots, resume, and cover letters. As an actor grow, they move to bigger agencies, usually with submissions. In-demand actors generally don't send submissions to the Big Three Agencies, the agencies go to them.

Jared was originally represented by CAA and Jensen was originally represented by WME.

Jared's agent, Jason Heyman, was poached by UTA during a "midnight raid" in 2015 through 2019 and Jared decided to go iwth him to UTA while Melissa McCarthy stayed behind with CAA.  Heyman went from a high post at CAA to a partnership at UTA, so for him it’s a promotion.   

Jensen either left or was dropped by WME and he signed onto Gersh in 2014, who also represents Danneel. This was probably the best move for him because at WME he was always given to newbie agents (basically interns) to handle his career.

Actors can be repped by more than one agent or agencies in order to handle their brand in different markets as well as minimizing conflict of interests.  I’ve known actors who had 3 agents: one for voice work, another for commercial work, and a third for tv/film - maybe that's why Jensen has 3 representatives in one agency?   Then there are actors with just 1 agent for the same things but in different markets, maybe that's why Jared has 1 agent that we know of.

[seirindono]

two questions.

one, HOW DOES ONE COMIC/STORY BOARD??

IM OBSESSED WITH HOW YOU DO IT ITS SO BEAUTIFUL

two, HOW DO YOU SO IT SO FAST( that’s question is more just me being super impressed oh my goodness)

you’re very good😳

Aw, sweet, a board question *puts on serious glasses*

Ok, bring it on anon.

So, the first thing to ask yourself when starting a comic, as I see it, is what type of board are you dealing with. Webtoon? A4 pages? 4 panels? There are many ways to go about it, and each involves different processes. For example, pages will allow for more superfluous scenes, whereas the webtoon format has to be super succinct because of the reading direction. I personally think that's the main reason I do pages, among other advantages: •narrative density •variety •Tumblr-friendly format

There are quite a few disadvantages too but you have to go through the process of trials and errors to really find out what suits you best!

Then there's the ambition of the sequence you're boarding for. And it goes from 1. how used I am to boarding this kind of sequence/drawing these characters/setting and backgrounds, to 2. is it an emotional sequence? Dialogue-heavy? Or more contemplative?

It changes the way you work and how you should approach your board! For example, in TMS, the very wordy chapters (4 and 5 for ex) generally called for simple and narrow framing. Of course, you don't want to bore the reader so you can spice things up to match the characters mood and reactions once in a while, but you have to bear in mind that the sequence aims to provide dialogue and information = the text bubbles are key and WILL take a lot of place. So let them.

( then again, it's all about pacing and balance. A page full of dialogue and one with too much happening are equally hard to read and boring to do)

Only dialogue, simple squares, no compostion, the focus is on Mel's reaction

On the other hand, parts 7 and 8 are all about action and atmosphere! This makes for wider and more varied shots!

They're fighting, things are going fast so why not use a single line to show many actions! They're still basically squares and rectangles but the pacing is totally different!

Or why not give the action a full page to really show its sheer impact

You can also split things, with a zoom or small time gap, depending on if it's a gag or if you want to put the focus on a reaction. Here, the asymmetry helps reinforce the unstable, jerky aspect of the scene. The situation is getting out of hand, and visually, the pages are affected too.

Now, these are case-by-case examples. And I never work on my pages separately.

For context, this-

-is the "first" board I did for part 8.

The drawings are very small and frankly difficult to make out, but the intention is what matters at this point lol I have the script (very important) next to my canvas, and I scribble the pages one after the ither. This allows me to see if the actions flow well, if the compositions are varied and also whether certain passages are too long or too short in regard to their importance. Which scenes can be merged? Removed? Toned down or if they deserve more bite?

This is a really fun and creative part but, I'll say it again, made a lot easier with a solid scipt. And I'm talking about a text document with clearly defined dialogues (or at least outlines) and actions.

I can't really explain how to write a script, it really depends on your work flow and how confortable you are with writing, but it's too important to just rush through it. No matter how much it changes before, during or after your finish boarding (cuz you gotta break your own rules sometimes and you'll often realize some things don't work as well once you put them on paper/sometimes art block can be resolved by writing the scene and just taking the time to imagine) but it's still your one guideline.

Aaaand, that's about it.

Other than that, I can only highly recommend reading lots of comics, Webtoon, books, watching movies, paintings, illustrations, animatics or listening to music, to inspire you and expand your own "personal library of references". Professional or not, anything your find inspiring and well executed. Boarding is at its core, telling stories. No art skill involved, just pure subjectivity. At the end of the day, it's all about squares, rectangles and bubbles so you gotta work on your creativity. The rest is gut feeling!

Constantly ask yourself how to tell this story, and how you want to tell it. How this sequence should be perceived? What do you need to show to make pages and pages of words appealing and interesting.

Be patient, be bold. Start with easy stuff to get some confidence if you need to. Accept that "boring" pages are smt necessary and that it's up to you to build up tension for a scene to really pop. Try new ideas and be ready to scrap many of them, the result will be worth all the work!

Now, concerning the "fast" part, I'm flattered but I personally think I'm super slow xD You prbly get that impression bc I finish the whole chapter before posting it, but behind the scene, I'm just working at a very regular pace.

Thank youuu anon ♡( ◡‿◡ )

[lizardsfromspace]

Okay, this is the conclusion to my posts about Sophia Stewart. I'll never do something like this again

Everything I've posted is from her own book or her web presence btw. That's all I'm drawing from and if anyone tells me any information about her they gained any other way I'll block them immediately so uh, don't

Towards the end she reveals some of her other pitches. By showing she copywrote sequels to the Matrix and Terminator

Lots of strange details here - she wrote The Matrix 4 in 2000? They didn't even start filming The Matrix 2 & 3 until 2001. Also, we can see in this book that her pitch has nothing to do with The Matrix or Terminator, but she claims she wrote direct sequels to both?

(Her explanation for how both very different films are ripping off her work - a 1:1 copy, she claims - is, hilariously, that The Terminator plagiarizes it front to back, while The Matrix plagiarizes it back to front. What?)

But also she didn't write it. She registered copyright on a synopsis for The Matrix 4. She has concepts of a plan for a Matrix 4.

The book ends with a pitch for another...she calls it a book, but it's a movie pitch? And this, too, is just a synopsis for some grand epic series, light on detail of character and plot and heavy with lore and rants (in this case, primarily about God and Adam & Eve). Of course her exhaustively long but barely sketched-out epic movie pitch has a prologue, which is also full of Christian-tinged Ancient Aliens pyramid power woo.

Sophia Stewart is unimportant, bc she represents a class of writer. Writers who have Ideas. Who have outlines and plot points but no real story, bc they never write it. But they think just having Really Good Ideas is enough - that you should get credit for coming up with a good idea for a story, regardless of if you make an actual story out of it. They're a "writer", but they never write. Despite this they often have a deep case of Dunning-Kruger, churning out outlines that leave out basic details like "what happens in the climactic battle" and the personalities of characters while insisting that an inability to author anything shouldn't keep you from being praised as a genius author

If that type of person is lucky enough to have money, they become a studio executive or tech guy, both professions awash in the uncreatively creative, or they hire ghostwriters. If they're not, they become the type of person to file spurious lawsuits under the misapprehension they own basic plot concepts. It's the "I coulda made the majors!" of writing, except, you know. Baseball players who didn't make the majors still actually played baseball at some point. I assume from now on all those types will just pump their outline into ChatGPT and try to sell the gunk it slops out and then claim they 'wrote' it so uh, uhhhhhhhhhhhh

The only reason I made these posts was discovering the conspiratorial angle to her work, bc who cares if a major studio has to deal with a spurious lawsuit? That was the part that actually sucks. But also, she does a lot of press: profiles on news websites, podcasts, that documentary was even made by other filmmakers, who actually make films. It's persisted from blogs and chain emails all the way to podcasts and TikToks. All of this uncritically spreads her story, but I also have to ask: how many actual African-American science fiction writers do those platforms profile? How many of them get documentaries made about their work? How much air is being sucked out of the room by the decades long misinformation about the "true" creator of The Matrix? And why is that misinformation so persistent when it takes a trivial amount of effort to find out it just isn't true? It feels good to support the underdog against the big studio, but in this case it just isn't true.

The sad truth is a lot more Hollywood plagiarism cases look like this than are real exposures of wrongdoing, but people tend to accept them at face value since they feel like a little guy taking on a corporation, though in reality it's just two writers suing each other. Take The Holdovers case, where people immediately turned on it, but if you look into it, the two scripts have very little in common, and the accusing writer makes odd claims like a human character in The Holdovers being a ripoff of a billboard in his script.

Or look at Groundhog Day, which was accused of plagiarism by Richard A. Lupoff, writer of the story "12:01 P.M.". The two stories have nothing in common besides a time loop; in Groundhog Day he's reliving a day, in 12:01 PM he's reliving an hour. Groundhog Day is a romcom, 12:01 P.M. plays it for horror. Groundhog Day never reveals the source of its lop but it's clearly fantastical in nature, 12:01 P.M. is explicitly science fiction. In Groundhog Day he escapes the loop, in 12:01 P.M. he never does. You can't deny Lupoff felt personally slighted, but at the end of the day, a world where a writer could own the concept of time loops would be a dystopia where creativity and art would die.

But even though they were wrong, The Holdovers & Groundhog Day cases were based on real works of writing that existed. They were based on a real, if misguided, sense of violation from the writers. But in this case, we have a mere outline of a story with not even basic similarities to the stories she's claiming are a 1:1 copy of her work, and decades of media appearances based on exploiting a community college media student's mistake in 2004. Anyway seems bad

[rascalentertainments]

Hey! Finally decided to write out a few questions I had about Wish Granted, so here they are.

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️

Who’s your head canon voice for WG!Flazino? You may have already said in another post but I couldn’t remember. (UaS!Flazino’s is Milo Manheim, if you’re curious.)

On that note, how do you think WG!Magnifico and Amat would react to Flazino being prince and the biological son of UaS!Manuel and Amaya?

What other Disney movie do you think you drew the most inspiration from, if any?

Do we get to see an actual wish ceremony in the story? If so, when?

Lastly, any hints towards the ending?

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️

It’s not a lot, but I’m kinda late to the party so most of the good ones have already been asked. Hope you’re doing well <3

HIIIII! I'm so sorry I'm late to this! Been finally designing the villains, and working, so I had to try and make time for this!

I briefly mentioned it in Chapter 1, but that was so long ago, lol. 😆 WG!Flazino is voiced by Josh Keaton! He's actually been in a few Disney projects, including the voice of Young Hercules! Chose him because he has a voice that fits his range of emotion from stressed out, to snarky, to genuinely trying his best. Plus he has a great singing voice. (Also, LOVE your voice for UaS!Flazino!)

2. On one hand, they'd applaud them for getting their Flazino under control with little to no hesitation or resistance. On the other, they're appalled that UaS!Royals even HAD a kid! WG!Magnifico and Amaya don't plan on having heirs, they want to stay in power longer than humanily possible, so they need all the magic they can get.

WG!Amaya would share a few spells that can UaS!Amaya to spy on UaS!Flazino when he's out of sight, or even spy on any possible traitor in the kingdom. (And they'd exchange tea recipes) Their respective pets would get along as well.

UaS!Magnifico would get along GREAT with WG!Mags. They both want the power of a star, and WG!Mags actually succeeded in getting a taste of that power. I can definitely see them going on and on about how hard it is to keep their Flazino's in line. Only, WG!Magnifico would slightly respect UaS!Flazino more for being a royal and not a peasant like WG!Flazino.

3. Hercules, big time! In fact, Wish Granted is part of an homage to the Disney Renaissance movies, where they just had super creative films one after the other! Hercules is actually one of my all time favorite Disney films, and Star's personality and strength is heavily inspired from it! Hell, a LOT of the humor is similar to Hercules, especially in Magnifico! (Plus I have a superhero story in development where is a combination of Wish, Hercules and Superman.)

4. Yes, actually! 😂 I didn't realize I NEVER showed one in the beginning. Oh my gosh, I'm embarrassed….

So it'll be shown during the set up for the finale! Once the royals gather up the people to make 100 wishes, they take in another newcomer to demonstrate their power. (So 101 actually!), it'll basically show what will become of the Hamlet when their wishes are taken. Magnifico plans to just eat them all and kill them on the spot if Asha doesn't give up Star.

5. I'll give you HINTS!!

Thanks so much, @snackara! I'd love to get more questions from you when you have them! They're so fun! 😁

I'll tag you guys in case you want some more lore here! 😉

@oh-shtars @signed-sapphire @chillwildwave @tumblingdownthefoxden

@your-ne1ghbor @ishadow246 @spectator-zee @kenihewa

@uva124 @annymation

[meshaamem-li]

imagine how much more vibrant and varied our animation industry could have been if large monopolies like Disney would have spent $20m on 10 films instead of $200m on 1 soulless cashgrab.

seriously. Wish had a budget of 200 MILLION dollars, and for what? a sorry excuse of a story that feels like it's been written by AI? if Disney divided the money across multiple creators and let them pour actual passion into their art, we could have so many more animated films of different genres and for different audiences.

the average movies I can find that aren't a large disney production are usually made on like a $30-60m budget, but Song of the Sea was made with a $7.5m budget, wolfwalkers was made on an $11m budget, and the nightmare before Christmas was $24m. Your Name was only $5.5m!!!! so it's not impossible to make good films on lower budgets.

I'm not saying "don't pay your artists" or limit creativity, but there's no reasons to waste 200 fucking million on a movie that has no soul when there are millions of artists and storytellers who are just itching for their story to be told. not every movie has to have groundbreaking hyperrealistic animation, you can actually make really good and unique animation without it being this fucking expensive! (while still paying your fucking animators because they're fucking amazing and deserve a much higher wage than the Industry standard)

it's like.... why they putting all their money on like 1-2 films a year when they can make at least double that amount and they'll still look good??? why are they not giving any room for experimentation with lower budget films and instead relying on soulless cashgrabs that appease the general audience of parents and doesn't treat their young viewers as people with taste? take more risks!!! bring some variety to the medium!!! this 200 million film could have been 4 50 million films!!! you are a multi BILLION dollar corporation, you have the resources to make multiple films at a time, and not all of them need to be the most amazing and visually appealing movie of all time!

yes, movie production is complicated and requires a LOT of people and a LOT of time, and costs a LOT of money, but animation evolved a lot over the years, and we're at a point where indie animators can make a solid short film basically by themselves at home and it would look much better than anything that was made 30 years ago because the tools we have now are much more powerful and accessible.

[blade-ranger-301]

Sorry about the bots!! I have the same problem on my main and side blogs. 🥲

So here is a normal question for ya! What are some of your favorite Blade HCs?

Ah glad I'm not the only one. They're so annoying 😭

And thank you for the ask! Means a lot and I'd love to be able to interact with others about our OC's and headcanons

I have a few of my own personal HC's for the angry helo 🚁:

- British. Despite the Planes 2 film being set in the US (I'm assuming), I'm writing my own fanfiction which is basically my own version of the film with added OC's, and it's set in the UK JUST for the sole reason that I can write Blade as a Brit 🇬🇧 (I have another post that support this lore: land, fire statistics, etc)

If Blade was British, he'd be from Northern or North-Western England 🏴󠁧󠁢󠁥󠁮󠁧󠁿 He's got that vibe in him: Typical working-class, an unmatched taste in humour, down to earth, sarcastic, takes no shit, stubborn and incredibly stoic (especially this), and I would imagine he would swear.. a lot

I think another reason why this is fun for me is that I can show other non-UK followers what the UK is really like. None of that London aesthetics shit. Idk how others view my country but whenever you look at ✨️UK aesthetic✨️ pics online, it's either London or cute little countryside cottages. A lot of photos and posts on social media perceive the whole of the UK as one big "London" island. Blade is none of that, and I think it'll be fun to see what he brings to the table 🇬🇧

- another HC is that he's best friends with Bravo and Echo. I've not yet explored how he meets and befriends them

- Blade occasionally drinks on the job. Not intense drinking, but Maru would definitely make him a glass or two to prevent him from going on a rage induced murder spree on everyone when he's in one of his bad moods. It's even hinted in the film when Maru sarcastically replies to Cad via radio "Oh, he's out back sipping a Motojito". So Blade's definitely having a few cheeky mojito cocktails on the sly whilst on duty. Maybe that's why he's sometimes so calm and chill in the movie XDDD

- The biggest HC I'm exploring is a big self-insert in Blade's past. Nick is alive so there's a reason why he leaves filming, but he's dealt with another traumatic experience in the past.

For the entirety of 2024, I've been dealing with the aftermath of a best friend breakup. In all 24 years of life, this is probably the worst BFF trainwreck I've experienced to date. That person is also a member of the LM community (not here) and have since replaced me with a new best friend also in the LM community. So this year I've been processing the up's and down's in my mental health. It's been 1 year since it happened, and I'm still not the same and it still affects me, but I've survived and maybe I've come a long way since but it doesn't feel like it - but I'll keep on trudging forward *keep calm and carry on Brit energy 🇬🇧✨️*

I'm planning on Blade going through the same 'best friend betrayal' ordeal because I think that maybe this will help me in some way. Due to this event, Blade will be affected badly and will become depressed, withdrawn, melancholic and angry, and will actively isolate himself from his team and others. When my heli OC Toni comes along, she'll have a hard time earning his trust, but with time, patience and Maru's help, she will eventually break through his shell and he'll be a much happier character in future and they'll become a couple.

I'm not sure how the timeline and scenes will pan out, but I use quotes to take notes and ideas for now, but I struggle with motivation and creativity often. But I'm going to get the Planes 2 fanfic out the way before I can worry about this one XD

But anyways thank you for letting me ramble and I hope you all enjoyed the read ☺️

[pubbamoon]

Hello there! How are you doing? Hope your having a wonderful day!!! Sorry to bother, I was wondering if it's okay, could I please ask your thought on this. Currently I'm really having a difficulty on if I should become an actor, musician or businessmen.

My question is based on my chart which one of these careers do you think is the one for me?

Thank you so much!

Hello! It's totally okay to me to read your chart in he context of your career path. Sorry for my later response, I was busy doing Destiny Matrix chart readings to other people. Let's just get into the topic!

The first thing I'm going to interpret is the money line of yours. So, your money line is the 5-19-14 code, combining the number 5 (The Hierophant), number 19 (The Sun) and number 14 (Temperance). If you search on the internet about it, you'll probably hear that this mentioned code (5-19-14) is called "Millionaire code". So, having the 5-19-14 code in your money line might indicate some kind of success in your profession. I often see people with number 5 (The Hierophant) in their chart working as a singer of being influential at any point. Number 19 (The Sun) may also indicate creative type of profession, but also owning a business, since The Sun card basically represent creativity. Number 14 (Temperance) might indicate balanced approach your duties in your work environment. Temperance card might also suggest success in leadership positions or in creative fields. Number 22 (The Fool) placed on the right side of your chart might also be significant for your career path and finances. The Fool represents spontaneity and freedom, so in this case, you may choose some professions that might seem unconventional.

I wanna also interpret the numbers on the upper side of your chart, representing your talents and gifts. The Magician (1) here shows that you might be naturally good at multitasking and doing everything at once. Justice (8) signifies you natural ability for diplomacy or exceling in roles. I often see many actors having Justice card (8) on their Destiny Matrix chart, maybe because actors excel their roles in movies or series by acting what they're actually not. The Chariot (7) shows that you might se discipline and ambitious person who strives for your goals.

So, I think that your Destiny Matrix chart has answered your question. It makes sense why you want to be actor, musician or businessman. Your money line shows potential career as a CEO or in creative fields. And if your are in a right environment, I think you have a potential to succeed. Good luck and I wish you a lot of success in you near future.

Best regards, Paky McGee

[izunias-meme-hole]

Top 5 supervillains?

LOOK AT THIS DUDE ASKIN' ME FOR MY TOP 5 SUPERVILLAINS!

In all seriousness though, I'll be glad to indulge, though be forewarned that my top 5 consists of supervillains from Marvel and DC, so like if this seems basic forgive me but I am allowed to be cringe in this instance because I've been dragged back into full on purgatory.

Number 1. Doctor Doom -As I've said before, I've always respected Victor, but I've never been super crazy about him. His animated and game adaptations are good but not perfect, and the movies so far have failed to get his character across in a great way, so that might've been a part of why I wasn't a Doom Superfan. Though after getting back into the absurdity and impactfulslness of superhero comics, it soon hit me... Doctor Doom is a villain made for comics. He's overdramatic, grandiose, terrifying, bombastic, egotistical, pragmatic, powerful, absurd, nuanced, insecure, lonely, the whole package placed within a suit of armor and a green cloak. He's an arrogant, tyrannical, cold hearted technological and magical genius who embodies every inch of supervillainy you could imagine, while remaining a genuinely sophisticated, and honorable figure even with his history of pettiness. Overall Doom is just one big magnificent bastard.

Number 2. Loki - Stan Lee, Jack Kirby, and Larry Leibber making the norse God of Mischief, the Poetic Edda's best figure, a supervillain... wasn't a bad idea. The result of that however was a wannabe king in a silly little outfit with devil horns who also happens to be Odin's adoptive son and the brother of Thor. This is inaccurate as hell and shouldn't work, yet it somehow does. He's a delightful trickster at every turn with a lot of gears consistently turning in his head, and while in the comics he's not really a villain anymore and his (in)famous run in the MCU ended on a surprisingly high note, he's still fun. Am I overrating him? Maybe.

Number 3. Magneto - He's honestly on par with Joker in my honest opinion, and I'm saying this as someone who's been familiar with Erik for a LONG time thanks to the X-Men films and Evolution, and has gone through his history in the comics. Magneto is basically one of the most famous examples of a "Knight Templar" in fiction, a self-righteous figure fighting for a crusade that he deems noble at any cost. As for why he feels the need to do this? He's a holocaust survivor, it's as simple as that. The comics are the legit only piece of media that go into deeper details about Magneto's life in the concentration camps and the aftermath of that hell which only led into more hell, but that's the basic gist of what makes him tick. Magneto's lived in a world where innocent people got killed because of state approval, and he's not letting that happen again.

Number 4. The Joker - The Joker is a crook who fell into a vat of chemicals and got a clownish makeover, who ended up becoming the nemesis of Batman. While the other rouges have their particular danger levels, they all have some type of cause they're fighting for or they're purely out to benefit themselves. Joker just causes chaos, death, and suffering, for the sake of his twisted sense of humor. He is willing to kill and ruin lives in the most creative way possible, so long as he finds it funny. Yet despite how twisted he is, this evil ass clown actually can be funny. Not only that, but he's the most effective contrast to Batman, even more than the other rouges. Batman is a frightening figure with a semi-demonic visage who suffered one bad day in his youth, yet he is a hero dedicated to the cause of justice and protecting the innocent citizens of Gotham City. Joker is a colorful figure with a big 'ol grin on his face and a jovial demeanor, yet he is perfectly okay with causing as much unwarranted harm to others for the sake of artistic chaos. Ultimately, the Clown Prince of Crime is a villain that's managed to last for decades, despite the ever marching clock, for these exact reasons.

Number 5. Lex Luthor - Superman's biggest hater being a self-made millionaire that is the embodiment of the best and worst of humanity will never not be fitting. Though if I'm being honest, I don't feel like DC has gone far enough with Lex. Still he's genuinely a pretty good villain for the man of steel to face.

[zahri-melitor]

Okay a loose Recent Reads roundup:

Birds of Prey: Sirens of Justice: so I was lured (tricked) into reading this as Gail Simone wrote one of the stories, even though it, sigh, contains far too much Harley Quinn due to movie synergy. The Dinah and Helena banter is decent, but otherwise this felt...aggressively fine. The Helena story is very pat in terms of how people tend to write Huntress shorts, though I guess it wasn't 'Helena worries about a student' this time.

The Question: The Deaths of Vic Sage: very much in conversation with O'Neil's run, of course, and also clearly reacting to contemporaneous US racial discussions. Shifting Myra to be the Mayor's sister not wife definitely alters her position in the narrative, particularly in terms of her obligations and response to situations. It is incredibly bleak in places, but that simply reflects the run it is based on and is a tribute to.

Superman's Pal Jimmy Olsen: This is definitely for the Silver Age fan. Matt Fraction manages to string together solving a complex assassination plot over 12 issues by telling the story in short, 2-4 page sections that wildly jump around the timeline and are framed by 'the many ridiculous things that have happened to Jimmy Olsen'. I have absolutely no handle on the canonicity of some of this, particularly the extended Olsen family, and not knowing probably makes this read more easily. Looking at it as a whole, I'm impressed how well Fraction stitched what was effectively episodic 2 page fills into a complete narrative. The energy of the story is relentless. Best read in small doses.

Batman: Pennyworth R.I.P: god this comic could have been so much better than it was. It’s fine and accomplishes exactly what it was intended to do - tell a story of how Alfred influenced and looked out for each of Dick, Jason, Tim, Damian and Barbara - and sets everyone up to be mildly pissed at Bruce. But just for one example, it would have been HUGELY more powerful if they’d been able to use Dick, with his memories just restored, facing the fact he wasn’t there when Alfred needed him and his last interactions were so impersonal and spent pushing Alfred away.

Catwoman 80th Anniversary 100-Page Super Spectacular: again, underwhelming. Tom King played shipper and wrote his version of how the Helena Wayne story should work; the Dixon story felt 90s appropriate but the art was dire; Brubaker’s felt like a missing scene to his run; Dini’s honestly wasn’t up to the standard I’d hope for from Dini. The art pieces were great though; a lot of good commissions.

Robin 80th Anniversary 100-Page Super Spectacular: I cannot work out who chose the covers used in the issue, which swing between 'iconic' and 'reminding everyone ASBAR exists was unnecessary, DC'.

Generally: they did manage to round up fairly iconic lineups for most of the stories, with some chopping and changing for a few.

Wolfman got another run at trying to frame the 'Dick quits v Bruce fires him' debate; Dixon and Grayson both submitted literal fills (Dixon's is a scene immediately after Nightwing #19 1996 and before #20; Grayson's is at least just an extra story that fits into #1-12 of her Titans 1999 run on a day all the second stringers didn't come to work). I don't actually have a problem with any of these - they're nice additional material, but mostly more of the same. Seeley & King's suffers from the usual Seeley problem for me where it would be vastly improved by having a different focus; but it does feel straight out of his Grayson run, with everything that implies (down to the St Hadrian's student I wish was not present). All of the Dick stories are basically "we got the team back together" creative line ups.

Jason, in contrast, makes it really obvious that nobody can define a definitive Jason run, and so gets the tiniest story with Winick and Dustin Nguyen. I checked, and Nguyen did draw part of UTRH, but I wouldn't have associated him as a character-defining artist for Jason. The story's cute. Winick sidestepped having to commit to anything about his opinions on post-Flashpoint Jason direction.

Tim got Adam Beechen (which honestly makes me happy, I don't care about anyone else's opinion) and luxuriates in Tim having to play civilian; Tynion gets a Rebirth story that I can't quite work out his timing on (it's supposed to be a prequel, but Dick is already back in costume as Nightwing and talking to Tim, suggesting that several issues of the Rebirth Nightwing take place significantly before 'Tec #934) that is a classic 'Tim tells everyone how he feels about his brothers' story. I realise everyone boring has complained about Tim calling Damian a 'horrible gremlin' but the thing is you see I can only read nicknames like that as full of affection. The back and forth is an important part of their relationship, as shown by Damian snapping 'you're only listening to the insults'.

Steph gets her 71 days as Robin slightly padded out and Amy Wolfram manages to pick up Willingham's tone pretty well; I suspect she liaised with Damion Scott quite a bit on this piece.

Damian has a Super Sons piece from Tomasi, because it's the most lighthearted option available and it sells very well (it's sickly sweet). Which was probably the right call as the other piece is clearly written by Robbie Thompson to accompany his Teen Titans run and for the downward spiral going on there. Which is honestly a bit of a pity for Damian, given everyone else got feature pieces from favourite runs, and he got the 'this slots into your current story' piece.

[teablogreal]

Code Geass: Roze of the Recapture Episode 1 thoughts

Okay so like, although I wasn't big on Akito the Exiled or the creative choices made with the compilation films, I was actually really looking forwards to this one. Unlike most people, I genuinely don't mind them doing more with Code Geass. Like we have the og anime just there, its out and people can watch it (except they cant because r2 is jailed on crunchyroll auughhhhh). They even made it clear that the new Code Geass stuff from Akito onwards are in their own continuity. Genuinely I don't mind them just expanding more on their already established concepts, though I do have a preference for when they do newer things with them. So like, yeah. Roze of the Recapture is my favorite thing to come from this series in a good while.

So for those who don't know, Roze of the Recapture is a sequel not to the original series, but instead the compilation films that recapped the original series with minor changes to the events that took place in there. It also follows up on the corresponding movie that conveyed what happened afterwards, but basically all you need to know is that after Resurrection, we have a 5 year timeskip. There is a new cast of characters who so far don't tread over where the original cast stood, however they do pay homage and parallel some of the characters from the original series. Honestly, I think this is the only part that has me worried, as I'd love to see them play around more with new concepts. However I feel like after the end of the first episode, those concerns are pretty much quelled.

Okay so I'm not gonna skirt around the spoilers any further beyond this point.

Okay. I want to talk about that fucking twist??? Because like??????????? I did not fucking see that one coming but its such a fucking great way differentiate your protagonist from just being lelouch again while also playing with parallels. We effectively have somebody who's a figure of importance who is thought to be dead, however lives on to take revenge on Britannia as they have wronged this person. Key difference is that our character kinda strays away from this idea. I know a lot of people here are referring to Roze/Sakuya as our first female protag for a code geass anime and I'm sure thats probably what they're going for. However my brain just sees Sakuya being legally declared dead and then proceeding to taking the identity of not an entirely different girl, but rather this whimsical boy twink named Roze. Idk, kinda transmasc swag but also I absolutely love how we've all been played for fools prior to release. Like all the marketing had led us to believe this was going to be a story about two brothers doing shit but WOW did they have everybody fooled (including me). A shame that the trailers for the later movies kinda spoil this twist but I will fight to keep this a secret as much as possible from my friends until I get them to watch this.

Roze as a whole is a lot of fun as a character, big twist aside. I love how he feels a lot more like a trickster compared to Lelouch. Even though Lelouch had a bit of emphasis on him playing with people (the orange incident comes to mind), Roze steps that up with his geass. I'm so glad that its not just Lelouch's geass again. They do something fun with it, like conceptually after thinking about it for a while its actually crueler than Lelouch's geass. Theoretically Roze could force you into doing something without brainwashing you, you could do those things while being entirely conscious. If you say no? Then whatever you're told to do otherwise happens no matter what. I think thats just insane, it really opens the doors for so many things to be done with it in the same way that we saw Lelouch's geass being used to torment Suzaku.

Anyways I think its really funny how people are realizing this one has Ichiro Okouchi coming back to write for it not through the writing returning to its unsubtle "no shits given" attitude from the original series, but by them having yet another chess game that failed to understand the rules of chess. Its a tradition at this point.

[roykleinberg]

a couple unpopular tron opinions!! lmao

Tron '82 > Legacy, but idk if that's an unpopular thought loll

What that makes Legacy's story go from good to great is all of it's various companion pieces— The Flynn Lives ARG, The Next Day, Betrayal, Evolution, Uprising, etc etc. The best thing about the Tron franchise is how it uses so many different mediums (and technology that viewers interact with in different ways!).

The Flynn Lives ARG, to me, is still the most ingenious thing that has happened to this franchise. Is it a little sad that the deeper aspects of Alan and Sam (and sort of Lora and Roy)'s characters get sidelined to something that average movie-goer isn't going to seek out? Yes, extremely. But the ARG is such a treat for fans that I'm genuinely surprised that Tronblr of the 2020s doesn't pay any attention to it. There's so much character and world building, and so many little, little easter eggs— I think the ARG deserves so much more attention!!!!

Evolution does more for the main program characters of Legacy (Clu2, Quorra) character development than Uprising does 😭The existence of Abraxas makes Clu more sinister because we see him purposefully going behind Flynn's back, and as dark as it was, Quorra's personal losses almost felt more heavy in Evo than Uprising since Anon and Quorra work together through the game. But I'm also very biased because I liked Evo's story so much lmao

—— from @quorras :)

tron confessional with moss

alright let's break this down lol

1. 82 v Legacy

admittedly I have gone back and forth on this one a lot over the years. because I generally (obviously) love 82 to bits and it is my favorite part of the whole franchise. but at times I have questioned if Legacy is narratively the Better Movie(tm). and at the end of the day I think it's somewhat hard to compare because they're telling pretty different stories, once you get past the surface level sucked into cyberspace plot. 82 has a warmer fuzzier view of the potential of technology in the right hands compared to Legacy, which in my interpretation leans more into the idea that family -- human love and connection -- supersedes the more "alien" program way of life. 82 wants you to like the programs and see them as people just like us, whereas Legacy has more of a Basics kinda suck and only the more human ISOs are worth anything approach lol. and I think there's validity in both those takes, and I think the times and environments in which they were created has a huge impact on how they view and approach technology. but. yeah. 82 wins for me on its more optimistic hopeful vibe alone.

2. The Tron EU (extended universe not European Union)

100% agreeeeeeeeee. I sometimes catch myself lamenting the fact that it's such a small franchise, but when you add up all the comics and games and the ARG (Flynn Lives ARG light of my life we will get to you in a moment xoxo) and the show there really is a lot! honestly throw ElecTRONica in there too, there was lore there. half the reason I have such a hard time even recommending the movies to people is because I want to be like okay but you also need to watch/read/play all of this please you don't UNDERSTAND

the way Tron has been handled by some many creators and creative teams is honestly just.... really beautiful and special to me in the most unironic sense. it sucks that the mouse has never given the franchise the trust or the resources to grow, and I hate that so many projects are soured by this air of something being ripped away from people who clearly loved it and wanted to do more. but that love is so undeniable in all these bits and pieces of the franchise. there will always be people who love Tron as much as we the fandom do, and I would rather have a hundred of these one-off passion projects like Uprising or Identity than a bunch of soulless blockbuster movies

3. ARG my beloved <3

42 Entertainment I am kissing you on the mouth

I really can't even articulate everything that the ARG is to me, and I wasn't even involved when it was ongoing. when I was just getting into Tron after Legacy got the home release, a good chunk of the ARG sites were still live, and I remember digging into all of it and being amazed and obsessed. I still have the wiki site where everything is archived bookmarked. there's so much good background in there. and Roy! ROY!!!!!!! and the big reveals in The Next Day? OUR little operation, ISOlatedThinker???? I am not and will neve be normal about it, and it's sad to think the current iteration of the fandom doesn't know about or acknowledge it as much

4. Evolution v Uprising

I feel ya. don't get me wrong, I love the Uprising cast, but I was never completely in love with how the show handled the pre-established characters. like I was saying before I didn't like how Uprising made Clu a more detached / distant villain, so having him be a more direct bastard in Evo worked better for me. and Quorra ugh :( she really loses everything over the course of the game, and I think it makes her character in Legacy so much more poignant knowing that she went through all of that but was still so hopeful. Abraxas was such a good, tragic, fucked up antagonist. and Gibson oughhhhhh. again hard to say what would have happened in a second season of Uprising (pour one out), but Evolution is so deliciously bleak in a way the show never completely got to be. Uprising is mostly dark because we know or can infer what's going to happen, because we know where canon ends up. but Evolution has more of an opportunity to show us the dark and horrible things that went on after the coup, and it's a carries a little more weight as a result. rip Anon you will always be famous

[greatwyrmgold]

I've been thinking about Team Four Star.

For reasons I'm not privy to, TFSdecided to end their flagship Dragon Ball Z Abridged series six years ago. On Christmas day, 2018, they uploaded the Cell Arc epilogue, and that was that. For a while there were plans to do the Bojack movie and the Buu Arc, but I guess they lost their passion or struggled over creative disagreements or just got sick of Shueisha's copyright claims.

So TFS pivoted to other creative projects, hoping to use the skills they developed over a decade of abridging anime and the audience they gathered to launch new projects. How did those go?

DBZA season 3 videos generally have 10-20 million views. The roughly contemporaneous Hellsing Ultimate Abridged and FF7 Machinabridged series have less; HUA hovers around ten million views an episode, FF7M about a million. TFS also have a few other anime-parody-ish projects, like the intermittent "X Minutes" series. "Demon Slayer in 6 Minutes!" has about six million views, but their other X Minutes (and similar videos with different branding) hover around a million views.

TFS tried tried all-original projects, too. They've made a few video essays; the best-performing by far is "Beastars is Beastars," with almost 800K views. The others have about an eighth to a quarter as many views.

More notable are the TFS Originals, which includes individual skits and whole series alike. Most of these do about as well as the video essays, with view counts between 60k and 140k. The pilots for Fist Master and Unabridged have almost half a million views each. Unabridged is by far the most popular of their series; I don't know if that's because more than two episodes were made, or if those episodes were made because it was more popular.

Good numbers by the standards of general YouTube. Not so good by the standards of channels with 4.3 million subscribers and a series which drew tens of millions of views for a decade.

And of course, TFS still does Dragon Ball stuff. There are the Dragon ShortZ, and the HFIL series. Both start with view counts above five million, with the most recent entries having around a million views. That's lower than any DBZA episode or movie, even the awkwardly-bifurcated Christmas Tree of Might, but it's better than anything else they've been uploading.

Well, until the Buu Bits came along. Little fragments of what DBZA Season 4 might have been, they were made for TotallyNotMark's Buu Arc retrospective. And people loved them. View counts for most individual shorts are above two million, and the full compilation video has six and a half million views at time of writing.

That's wildly better than basically anything TFS has done since Hellsing Ultimate Abridged. The Buu Bits compilation was even more popular than the last episodes of Dragon Ball Abridged Kai, a series only technically distinct from DBZA.

This is what their audience wants.

Team Four Star wants to move on. They started three original animated series between 2018 and 2021, for Kai's sake! But they only got 1-2 episodes each, probably because animation is hard. Team Four Star isn't just a bunch of peers and friends making silly internet videos any more; it's their job.

If TFS is going to spend all the time and effort and money needed to make more DieselDust, they need to be able to see some return on that investment. They can't pay everyone a living wage with less than a hundred thousand views of ad revenue, sponsorships aren't gonna pay much without more viewers, and good luck selling Kadence merch.

You know what does pay? More stuff that's DBZA-adjacent, but original enough that it doesn't trip YouTube's copyright bots. Team Four Star's fans will come back and watch Abridged!Cell and Abridged!Guru and the other villains tooling around in HFIL, and maybe some will buy an orange!Piccolo "DODGE" shirt or buy their sponsor's stuff while they're there.

That's sad. Team Four Star aren't master storytellers, but they shouldn't have to be to pursue their passion. They have so much more backing them up than 99.9% of artists; they have a platform and millions of fans and more than a decade of work proving their skills.

But that's not enough. They tried, and they failed, and they're returning to the old hits. Their original series aren't unsuccessful, but they're not successful enough to justify making more. TFS gets more eyeballs on their DBZA creator commentary videos than they do for original series.

TFS didn't want to make more DBZA (if they did, they would have), so they compromised. Most of their videos from the past couple years are Dragon-Ball-related in some way; HFIL skits, or Buu Bits, or Dragon ShortZ, or the aforementioned creator commentary. They wrapped up Unabridged last year; that was their most successful original series, and they haven't replaced it with anything.

I'm not sure how to wrap this up. I've followed TFS for about a decade, for most of DBZA season 3 and beyond. I wish I could say I've watched them grow creatively, but while they're clearly more skilled than they were when they made DBZA season 1, they've been stuck in a rut by their material circumstances and business needs. HFIL and Dragon ShortZ are basically DBZA, but freed from the limitations of editing DBZ footage and sticking to DBZ's story.

[friends-arent-electric-blog]

So, is it safe to assume now that we know basically what Murderbot's armor suit looks like, from those art department t-shirts?

I have some thoughts on that. (Visual spoilers follow)

The asymmetrical helmet gives me agita, but I'm sure it'll look better onscreen than the concept(?) art. I mean, I hope it does. Because I can't even tell which way it's looking. xD I'm inclined to believe it's looking straight ahead? But none of the panel lines are positioned with any kind of visual coherency, so it's like one of those perspective/eye puzzles where you can't really figure it out because it breaks all the rules. Maybe that's the point? Confuse the enemy?

(I'm aware they're not so much concept art as stylized 50s-era movie posters, which is another reason it'll probably look better in the actual show, but I'm going to assume the design depicted is basically the same)

Edit: Also, the helmet depicted on the "Season 1 wrap party" banner isn't asymmetrical and looks a lot more coherent, so I'm even more confused about that now)

The rest of the suit looks kind of... plain. I daresay, even bland? But again, it's just artwork for now, and honestly, what else was I expecting? SecUnits aren't supposed to look flashy, they're tools. But they are supposed to look menacing, and that just... doesn't. At all.

It looks surprisingly... cute.

Still, must withhold judgement, this being material not intended for public viewing. I'm just intrigued how it will all look in the end. From the rest of the props I've seen, I think they have a good creative department and the visual style of the show will be anything but bland. I LOVE the fake alphabet they've used for anything that has text on it, and must learn to write my name in it at some point!

God, I can't get enough! I've been lurking in the Discord's spoiler channel, and have seen enough to even know how the first episode begins, but I want more. I do hope a teaser trailer shows up before the end of the year.

[quickdeaths]

mun meme

𝐆𝐄𝐓 𝐓𝐎 𝐊𝐍𝐎𝐖 𝐓𝐇𝐄 𝐌𝐔𝐍!

★  NAME:  Bryn

★  PRONOUNS:  she/her.

★  BEST EXPERIENCE: Meeting my girlfriend through RP has to be at the top of the list, and meeting some really great friends too. Just talking about the IC stuff, idk, I'm pretty happy with how things have been going recently?

★  PREFERENCE OF COMMUNICATION: IMs are okay but discord is best! I am very chatty on discord sometimes, and the search function is really helpful for me when it comes to going back and finding old things. I'm also just on discord basically all day in some capacity, so I rarely miss things for long.

★  MOST ACTIVE MUSE: I can basically write any of my DR OCs at the drop of a hat, although Shinobu is the one who I am currently writing most, and have the easiest time writing because of that. I think for me, though, it's more "do I have energy/creativity to write right now at all" rather than if I have muse for a specific character or not - it's not usually the case that I struggle with a specific character at a time when I'm otherwise writing easily.

★  EXPERIENCE / HOW MANY YEARS: I started off on a forum in maybe 2006 or 2007, did some stuff on livejournal, had a cup of coffee at Gaia Online, and settled on Tumblr in maybe... 2012? 2013? I've done some things on discord (don't love it for RP) and google docs (it's okay) since then, and a handful of other places, but I think I'm just Here Now, like furniture.

★  RP PET PEEVES:  

I have talked about these all so many times so I'll try to keep it brief hahaha.

People who repeatedly drop threads without reaching out to say anything (this is my #1 pet peeve), and people who generally cycle "taking on too many asks/drafts, then dropping all of them, repeat."

People who habitually archive/delete and remake their blogs, especially if they don't make any changes to how they run things, who they interact with, etc. I see it as, like "bringing your bed to your new apartment and being confused as to why you still have bedbugs."

People who post tons of OOCs, as well as things like memes, starter calls, ship calls, etc. while having a massive backlog of drafts and inbox things already.

People who treat OCs/female characters/female OCs dismissively, or as stepping stone interactions.

★   PLOTS OR MEMES: Plots. I honestly don't like memes very much since I feel like they seldom lead to the kind of long-term interactions I like the most, but they're so entrenched on tumblr that I just kinda have to accept them. I would much rather talk to people and plot out loose thread ideas than send in a dialogue prompt from a movie I haven't seen and hope it gets answered and hope that that answer feels like something I can respond to and hope that my reply gets replied to and it's actually a thread. I like doing stuff that develops across multiple threads too, and plotting is much better for that.

★  ARE YOU LIKE YOUR MUSE(S)?: Not really, I don't think. There are pieces of me in all of my characters, of course, and there are superficial similarities sometimes in terms of like, hobbies or interests, but I think the characters who feel like they got more of me mixed into them are like, D&D characters, or characters from my other blogs.

tagged by: @more-than-a-princess also tagging because tumblr is a functional website and perhaps putting things on a new line is the only fix: @timesunder @shishigirls @saburaito @sunbreathr

tagging: @lunaetis @guidedhearts @amaidol @infintasmal @corrpse also tagging myself since that seems to be the only way to not have it break someone else's tag very cool: @quickdeaths