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toulousewayne · 2 years ago

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Green Arrow: Hunted

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This is a concept for a Green Arrow movie, which is a direct sequel to the Green Arrow and Black Canary film.

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Synopsis:Oliver Queen returns home after being away on League business. He finds a string of murders with arrows begins to tarnish his reputation in his city. He needs gonna help to stop the murders before he becomes prime suspect number one.

Rating: PG-13

Runtime: 2 Hour, 19 Minutes

Release: June 15,2029

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Cast:

Oliver Queen/Green Arrow…Austin Butler

Roy Harper/Arsenal……Jake Austin Walker

Malcolm Merlyn/ Dark Archer……Nikolaj Coster-Waldau

Mia Dearden/Speedy…..Sabrina Carpenter

Cameos:

Dinah Lance/Black Canary…….Chloe Bennett

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Concept Art: All Artwork belongs to the original artist‼️‼️‼️

Green Arrow:

Malcom Merlyn:

Arsenal:

Speedy:

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Plot:

Oliver returns to Star City and finds a string of murders have created a problem for him.

He rides to the Glades and finds a warehouse. It was formerly owned by Maxwell Lord.

He finds three prominent political leaders murdered by green arrows. The S.C.P.D. Are about to swat the building g and GA as to escape. Several swat members fire at him and throw tear gas into the building. He’s nearly captured until a young blonde girl in all black sets off the fire alarms. She tells GA to follow her, and she leads him underground a tunnel and they escape.

She introduces herself as Mia, she tells GA that Dinah asked her to follow him and watch his back. Irritated he tells her he’s not a rookie, she tells him that he doesn’t understand that with his absence that crime as skyrocketed.

She shows him news reels of the last several murders and tells him that he’s been all but officially charged for the murders. She tells him that she wants to help him. He gives her a device and tells her he’ll be in touch and leaves.

He returns returns to the cave where he’s creating a crime boards from the last four murders and examines clues and other evidence. He gets a call from Dinah, and he asks her why she sent Mia to him. They get into a fight and he hangs up before returning to his investigation.

Roy exits from a seedy dive bar and see the man he’s been following the last three nights. A man by the name of Arthur King who is somehow connected to the District Attorney and the Police Captain murder’s.

Roy is trying to find the man when a waitress , who works at the bar takes his order. She being chatting with Roy who tells her he’s busy and Mia tells him the man he’s looking for rarely comes in here but she’s heard his name a couple of times. Roy beings to think of ways to draw him out.

Oliver attends a broad meeting with several overseas chairmen the next morning. He meets Malcolm Merlyn a wise and wealthy businessman from Star City himself, but works mostly in his China department.

Oliver and Merlyn have passive aggressive conversations throughout the meeting which comes to an end with Merlyn smirking and telling Oliver they’ll have to carry this conversation later. Oliver watched him leave when when his phone buzzes with a signal from Mia.

Mia is waiting in an alley when Green Arrow jumps down from the fire escape, and asks her what’s going on. She tells him that she find all the victims have some sort of connection to Queen Industries. The DA and Captain were apart of the Queen Act to protect the Glades, the first victim was a reporter who first broke the story and the second victim was the Vice President of a company partnering with Queen Industries to support the Act.

GA asks her how she solved that so quickly and she jokily tells him because she’s just the smart. And before either of them can continue severs black arrows nearly pierce them. GA causes a smoke screen and takes Mia to the rooftops. He tells her to stay out of sight and he ventures farther into the open and quickly dodged more arrows.

A Dark Archer appears and tells Green Arrow that he is in his way of killing his remaining targets. GA and the Archer fight on the rooftop,but the Archer defeats and nearly kills GA.

Mia takes Green Arrow’s bow and scattered arrow and fires a lucky shot nicking the archer. He tells GA that he won’t be so lucky next time, and throws a smoke bomb disappearing.

Mia helps Green Arrow and he tells her she’s not a bad shot for a rookie. Back on his feet he tells her she can’t go home because the Archer will not be looking for her too. She tells him she’s doesn’t have much of a home life anyway. He had her join him on his bike and he takes her to his Arrow Lair.

He tells her she can stay here and he reveals his identity to her. She’s shocked and asked why did he do that. And he tells her any friend of Dinah is a ally in his eye, and the fact she saved him.

Mia is overjoyed to see the Arrow cave. Oliver begins patching himself up and he’s trying to talk to Mia and get to know her. She briefly tells him about her life in the Glades. Oliver tells her that he doesn’t judge her, him misjudging people is what cost him a lot of things and people. Mia noticed a display with a suit that was once Speedy’s and she asks about it which he dismisses.

Roy is suiting up while listen to several sound clips from bugs he planted. He takes his bow and fires a arrow and zip lines across the street to the Emerald Hotel. He breaks into it and is inside the penthouse. He lures around looking for evidence and he quickly dodged several black arrows.

Mia fires three arrows in the archery training ground. Which Oliver comments on her natural instinct. She tells him where she’s from if you can take the shot, you take it and don’t miss. Just then his computers ring with a board set.

The two see a video of a bruised and bloody Arsenal. The dark archer comes into frame and taught Ollie. He tells him he couldn’t stop him, and he’s gonna fail to save his former protégé. He tells him meet him in one hour alone or he’ll kill Roy.

Mia tells Ollie he can’t go into this without thinking it through. He resuits up and Mia tried stops him and tells him he’s walking into a trap. And Dinah would want him to think it through before charging into this blindly. He tells her that this is personal now and he grabs his uniform and bow and leaves to get ready.

He arrives at a Queen Industrial construction site and ventures into it. He makes it to the thirteenth floor where he finds and an unconscious Roy, he checks his pulse before and arrow nearly takes out his hand.

The archer appears from the shadows with his bow drawn. And he tells Oliver he’s been waiting for this. The two engage in a battle of bows,arrows and hand-to-hand combat.

Mia sneaks off the elevator and speeds to Roy who’s slowly waking up. He brings to speak but she reassures him she’s a friend and begins to cut his restrains.

Oliver fires a Arrow that releases a bright flash and he knocks the archer into a dry wall. The Archer draws a hunting knife and attack GA.

Mia frees Roy and assists him towards the elevator. He asks her does she work for the Emerald Archer and she gives him a sassy response.

GA gains the upper hand and manages to tussle and unmask the Archer as Malcolm Merlyn. He tells Oliver that he figured he remembered him from their meeting but he tells him it doesn’t matter because he has one last person to kill and take Oliver down. He throws a dart and it injects a toxic into Okie who stumps back off the roof.

Ollie regains his bearings and uses arrows to stop his fall.

He saves him self and takes an antidote. And catching his breath while laying on a support beam.

When he returns to the lair Mia manages to help a now alert Roy Harper,but when the two men lock eyes the air goes stale in the room.

Oliver tries to speak to Roy who immediately tries to leave and the two get into a heated argument. Dinah appears and tells them to stop it.

She tells Ollie to back down and he does. Dinah tells Roy to get dressed and to meet her outh side.

The two go to Big Belly Burger and she asks him where he’s been. It’s not a great conversation at first but once she gets him to open up it all dawns on her what happened between them, and she tells Roy she’s sorry she didn’t know nor did she know what fully happened between them but she tells him it’s time to make amends with Ollie but he must do it on his terms. Not hers and not his but his own.

Merlyn arrives to his penthouse and enter his Dojo. He take out a large vital and leaves again.

Mia attempts to get the true from Ollie who tells her messed up. He wasn’t the best role model and he didn’t think through his decisions. He pushed Roy away.

Roy tells him he didn’t push him away. Dinah ask Mia to come with her for a moment.

Roy and Oliver have a heart to heart and Oliver apologizes for throwing him out and not helping him through his addiction and Roy tells him he doesn’t blame. Ollie tells Roy he’s the little brother he never had and he’s proud of his recovery.

Mia and Dinah hug and Dinah tells her that she has to go. But she wanted her to know she’s glad the boys have someone just as headstrong looking after them. She tells her she figured she be staying around and she tells her that she wants her to not let her past define her, she’s her own person and deserves to live her life. She tells her the guy in the Glades who keeps coming to collect will no longer bother her.

Mia thanks her and tells her she doesn’t know what to do now. And she’s Mia that it’s her own life and it’s up to her. Oliver comes up to them and Mia tells Dinah thank you and hugs her before leaving to head back inside.

Ollie and Dinah share a sweet moment before she gets on her bike and tells her not to miss her to much, before she speeds off.

The next day Ollie arrives in his office to find it eerily quiet. Green smoke engulf his office and he collapses. The last thing he see are a pair of black boots.

Roy arrives in the Lair to find Mia training with a dummy. He ends up teasing her before helping her perfect her stance. His phone buzzes and it’s Oliver. The entire top floor of Queen Industries is on lockdown with Oliver trapped inside. He grabs her suit and tells her he has to go. She eyes a few spar bows and smirks to herself.

Oliver walks up tied to a chair with Merlyn standing before him. He reveals why he’s doing this to Oliver he wants revenge for because when he first met Oliver in the League he was overlooked by Ra Al Ghul as a successor for Oliver after the original too turned down the offer. He felt could never gain the status he worked for. He wants Oliver to feel what it’s like to have everything you’ve worked for and have it taken from you.

Roy arrives at Queen Industries and breaks into the ventilation shaft and rushes to Oliver.

He arrives in the lobby and is ambushed by Assassins who work for Merlyn. He makes quick work of them before taking the stairwell, he fires a grappling-arrow to the top floor.

Marylin tells him he has planted evidence in the room and when the police storm inside they will pen all the murders on Oliver and he will spend the rest of his life in prison. A red Arrow nearly hit Merlyn. “You’re not going anywhere”

Arsenal and Merlyn being to fight through the top floor and Oliver manages to get his restrains off. He charges Merlyn and they crash throw a window onto the rooftop balcony.

Merlyn throws smoke and flees but Oliver rushes after him with Roy in tow.

They climb onto the roof and fight Merlyn. A black chopper arrives for Merlyn who tells them it’s been fun but he’s ending it once and for all, he pulls a detonator from his pocket and warns the two men he planted explosives throughout the building and will kill them all.

A golden arrow knocks the device from his grasp. Mia in a makeshift Speedy costume winks at Merlyn who is punched and knocked out by Oliver. The chopper beings to fire at them when Roy fires a explosive arrow at the chopper which catches the tail. The chopper brings to descend towards them and Oliver tells them to run. He grabs Merlyn and they jump off the building.

Roy and Mia fire rope arrows to a nearby building and Roy grabs Oliver’s arm and they land on the building just as the chopper crashes on the rooftop.

Oliver removes his jacket and tie and tells them he has to collect the evidence but Mia hands him a black bag. She tells him she grabbed it before she came onto the roof. Oliver thanks them for their help and turns to find Merlyn is gone from his restrains.

The three of them turn back to Queen Industries building engulf in flames.

A time skip of two weeks later Oliver is holding a press conference on the steps of Queen Industries and talks about the murders of his associates, the attack on him and tells Star City he will not stop until the city is safe. Through his conference Mia is training in the lair, Roy drives red convertible passing the now leaving Star City sign with a small photo of him and Oliver on his dashboard, and Merlyn is watching from a town car from across the street and tells the driver to proceed.

His tells the reporters and press he will not fail this city before the camera pans upwards towards the city before a last short scene of Green Arrow over looking the city when Mia joins him in a new suit. He jokes with her before they fire their arrows and swing towards the city and it fades to black.

#green arrow #dc comics #dc universe #dc live action #arsenal #black canary #dc green arrow #oliver queen #roy harper #mia dearden #malcolm merlyn #dark archer #star city #dc fancast #dc films

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startrek-readerslog · 1 year ago

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Rise of the Federation: A Choice of Futures by Christopher L Bennett

Now we are chugging along.

I had some time and decided to make a spreadsheet to track a few things. The first thing on the sheet was my budget which I said at the very beginning I was interested in tracking and the second is my overall completion in terms of owning and reading all the novels. If you are curious feel free to take a look here! You can see how incredibly many books there are and how little progress I have made 🫠.

The Author

Christopher L. Bennett is the author for this one, and this is our first time meeting him, but like many other authors we have encountered it won't be our last! It looks like he has written a profuse amount of Star Trek tie in media, not only this Rise of the Federation series that is next on the docket, but also TOS series, TNG series, and a series about the temporal war. He also has written for Marvel. I couldn't find much about his personal life except that he is a lifelong Ohioan.

The Summary

It seems like the Suliban are back? jk it's just a ploy to break up the Federation. The new Federation's tech doesn't all quite work together yet, but don't worry Dax(!!!) is on the case. Also transporters are a little wack and have caused some permeant damage to Archer and Reed. The crew of the Enterprise have split up now that the Enterprise is a museum exhibit. T'Pol captain's her own ship that is the USS Endeavor, the current flagship while Reed is given his own vessel, the USS Pioneer. Hoshi and Phlox stay with T'Pol while Reed takes on Travis as his number one.

The story cut back and forth between these two vessels and Archer at a diplomatic conference dealing with a species they have dubbed "The Mutes" who have no voices nor eyes. Oh there are also evil Orion ladies and their servant Garos who are also plotting to take down the Federation. The Mutes have been disabling and stealing ships and people are...pretty mad about it. The Federation makes a task force to deal with them, hopefully peacefully, that involves the Endeavor, a few Andorian ships, and Garo's ship. Garos and one Andorian ship respond to a distress call sent out by people disabled by the Mutes. Garos mercs the Andorian ship and says the mutes have done it.

T'Pol investigates and finds some inconsistencies but no proof. She then has her own run in with the Mutes and they manage to capture two of them to bring aboard, along with the other ships taking their own hostages. They make some observations about their communication style and purpose. T'Pol mindmelds with one of them to learn more. They communicate using infrared and electrical signals, and are mainly just curious scientists. They see most humanoids as less than because they cannot communicate with them in the same way. They decide to return all the hostages and send T'Pol and Hoshi back with them in order to continue to facilitate communication. T'Pol and Hoshi establish contact and begin negotiations while Trip and Archer uncover an Orion scheme to influence Federation members into more aggressive postures.

Oh while all that was happening Malcom and his crew were falling into a planet, but don't worry they were saved by sentient sky whales and they solved the combining different society's tech problem :)

My Thoughts

I think this one knocked what a Star Trek novel should be out of the park! It was a space mystery tied into bigger ideas about politics and ethics, where our beloved characters have to make some hard decisions to do the right thing. It read more like a plot line of an episode or two and that format is incredibly digestible, and I think what made it so successful.

The characters felt perfectly reasonable and in character about all the decisions that they made. T'Pol especially it was cool to see in the captains chair. There was a fun side story about her getting along with her Andorian number one. They learn to trust each other and put aside feeling from their races previous war. Thanien was a cool character I am sure we will get more of. There was a lot of fun emotional moments that felt really right to me. Reed learning how to unwind a little bit and show his feelings, Hoshi going to T'Pol for emotional regulation, and Travis helping two young ensigns figure themselves out. I really enjoyed Bennett's writing style. It was descriptive without being flowery and over the top. I also just felt the plot very well thought out. We did an appropriate amount of jumping between POVs. He is also the first one I think to really get Trip right as a spy! His version of spy!Trip is a little banged up and broken in a way that made his spy business more believable. I am sure we will get more of this. Also we meet Kirk's great grandparents? I think? It was so fun and cool and subtle. I love when the novels are given the latitude to do that.

At the end the author in the acknowledgements laid out all the references from the series that he made which I thought was super cool! He even credited the writers who wrote the episodes that he stole stuff from. He also acknowledged that this section of the timeline is murky and there are other novels with it going differently which I thought was very reflective of him to acknowledge that that is an aspect that makes the novels fun.

I give this one 9/10 stars! Really just good old fashion Star Trek fun. The next one is Rise of the Federation: Tower of Babel by Christopher Bennett, let's see if it is as good!

#rise of the federation #a choice of futures #charles trip tucker #t'pol #star trek enterprise #hoshi sato #star trek #michael a martin #jonathan archer #travis mayweather #malcom reed

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wakandamama · 4 years ago

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Zendaya said "I'm grown now and talented and any character I play from here on out will smoke cigarettes in a crisis and be lanky and yall gon like it." And honestly I support it.

#Zendaya #malcom and marie #euphoria #rue bennett #Marie

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whamicon · 4 years ago

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smells like success to me

like / rb if u save

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iconsfinder · 4 years ago

Photo

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fancyschmancyopinions · 3 years ago

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ZENDAYA at the 25th Annual Critics' Choice Awards on January 12th 2020 wearing TOM FORD

Can anyone say fierce? Zendaya looks absolutely beautiful in this look. We don't see her hair in braids a lot but I think these long braids are actually stunning. The metallic breastplate looks amazing and actually was made to fit her measurements exactly. The skirt looks nice but I definitely feel like the top and hair are the best part of the outfit. I love looking back at all of Zendaya's looks. It always makes me even more excited for what's to come.

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hopemikaelsvns-moved · 6 years ago

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✨ HAPPY BELATED BIRTHDAY TO REI! @moirei

stills of carter merlyn (adelaide kane) and arrow characters, slade wilson (manu bennett), malcom merlyn (john barrowman), oliver queen (stephen amell), tommy merlyn (colin donnell) and earth1!laurel lance (katie cassidy rodgers).

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yawchannel · 4 years ago

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INTERVIEW: The Falcon And The Winter Soldier for SFX Magazine (Anthony Mackie and Sebastian Stan Part) (Issue 337, February 24th, 2021)

By Tara Bennett

WING MAN

Anthony Mackie is Sam Wilson / Falcon

SFX: You’ve admitted that initially you weren’t sure on the idea of doing an MCU Series. Why?

ANTHONY: To be honest, I’ve had trepidation from the beginning. I was really afraid of the idea. Working on so many Marvel projects, and seeing the end result and the effect that they have on people, I was afraid that the quality of the production would be taken down for television. I was afraid that you can’t do things on television that you can do in theatres.

Seeing people’s reactions to Avengers: Infinity War and Endgame in the theatres, and hearing the connection that the audience members have with these characters... that’s every actor’s dream, to affect an audience and expose them to a different way of looking at culture and the world around us. I was really afraid that I wouldn’t have that opportunity to step out on that ledge like the actors before me had.

But once we talked, and once they brought on Malcolm and Kari, I knew it was going to be something different. Kari is a phenomenal leader, and Malcolm is an amazing writer. And Kevin promised me that it wasn’t going to be different. He’s not going to tarnish the Marvel brand by trying to just blow out as much content as he could. And I trusted him on that. They haven’t let me down yet, so I just went along for the ride on faith of their past work. And I was really pleasantly surprised by how great everything turned out.

SFX: Steve was an integral part of both Sam and Bucky’s lives. How does the show explore his absence?

ANTHONY: With Sam and Bucky, the idea of losing Steve looms heavily in their day-to-day-life. Captain America - not just a moniker, but the person - was a huge influence on both of them. The idea of the moniker is not as important as the person that they lost. Their whole goal, and their whole focus, is to honour Steve, because he left them with such a huge task to pick up where he left off. Just the weight of the shield with no Steve leads us to believe that there might not be another Captain America. There will never be another Steve Rogers, so for the two of them, the idea of the Captain America moniker is more of a burden than a blessing. They really try and allow that to be an influence of the legacy that he left, and how they can keep that legacy alive and support him - while also missing him and being very sad that he’s not around any more.

SFX: Will we see more of Sam’s regular life?

ANTHONY: We get to see more of them in their surroundings, their personal life, with people who influence their life day-to-day: family members, friends, co-workers. You got a little bit of it with Sam when Steve went to the VA when they first met. But now you really get to see his twists and turns and where exactly he fits in his nine-to-five, as opposed to him just sitting around waiting for Cap to call. That was one of the biggest pitches that Nate and Kevin gave to me that really intrigued me and excited me about this story.

SFX: Exploring Sam’s big choice when it comes to taking up Cap’s shield encompasses so many real-life issues, including race. Was Malcom a solid partner in conveying that?

ANTHONY: You know, it wasn’t just Malcolm and I. What was really interesting was Kari [Skogland] and Zoie [Nagelhout] were very local in the idea of who this man was, and what he was going to mean to the society that we were presenting him to. It’s funny, with Kari being a white Canadian woman, and Zoie being a white American woman, they had such strong parts of opinion and such interesting ways of seeing this character that were way more aggressive than anything I could have imagined. Their perspective and bravery, as two women leading the charge, to show the situation that this character was being thrust into in the world that he lived in, was very humbling. I always felt support. It always felt like there were people around me who were paying attention to what we were saying as a show.

BUCKY STAR

Sebastian Stan is Bucky Barnes / The Winter Soldier

SFX: After Endgame, how did you feel overall, about staying in the MCU?

SEBASTIAN: At the end of Endgame it was sort of strange and emotional. At the time, it was the 10-year anniversary, so everything felt like an ending, of sorts, even though we recognised that there was probably going to be more to it. But it was great to be able to have a discussion about the future.

SFX: Who at Marvel Studios initially pitched the idea of this series to you?

SEBASTIAN: I sat with Kevin [Feige] initially. And then with Nate Moore, who I had done Civil War and Winter Soldier with, and had an unbelievable experience. I think I was a little nervous, because part of me felt like “I’m not even sure if I know what’s left to be explored with the character”. But we actually discovered so much more. And I feel like the character now is coming off in such a different, deeper and more complex way than we’ve seen him. I thought I had explored the character, as he was, enough, but we actually had only scratched the surface. What we’re able to do with him in this series is just on such a deeper emotional level, and we didn’t have that opportunity before.

SFX: What was most interesting to you about doing a series?

SEBASTIAN: The idea of exploring this character now, separately, from Steve Rogers and from that storyline, and putting him in the world, and giving him an opportunity to really, truly, have to face who he is - everything about that was exciting. And the idea of working with Anthony was exciting, because I know we have something special and we’ve never gotten a chance to explore it.

SFX: Who are Sam and Bucky to one another in this series?

SEBASTIAN: They both despise each other equally! [Laughs] I mean, there’s some truth to that. But it’s also a discovery for both of them to realise that they actually have much more in common than they thought. They come at it from different backgrounds. But essentially, they’re both two people trying to find their new identity, and that really has nothing to do with Steve Rogers. Steve Rogers is much more the catalyst, like the event that sets off the bomb that causes both of them to go, “Okay, that happened. Now, let me deal with these things”. I think it’s about them figuring out that they need each other much more than they want to accept.

SFX: With no Steve to lean on, what is Bucky focused on?

SEBASTIAN: It’s a bit of re-educating that happens at the same time. He’s learning a lot about Sam, and he’s also learning about the world, because it’s a very different world than when we was last “James Bucky Barnes” in the ‘50s. He’s always got to deal with the shadow that’s following him. Now it’s more of a question of, how does he take what he’s learned and apply it for himself, going forward? How do you go out there in 2021 and function, knowing what he knows and what he’s bee through? And also, how do you do it without somebody who was a brother by his side, who was a staple of strength, or familiarity? You take away even the last comfort zone - what does he have? That’s what the show is about for him.

SFX: Why do you feel that Bucky has been able to retain fan sympathy during his dark arc?

SEBASTIAN: He felt much more reachable and reachable than other characters, perhaps because of the arcs of trying to cope with the past, or getting over some trauma, or PTSD. And his level of finding oneself again, redefining yourself, your morals, your values, who you are, what you believe in, the challenges that you have - in terms of accepting the world a certain way - understanding that maybe how you grew up and what you’ve learned isn’t going to always help you find your path. You’re going to have to maybe go against the things that you’ve been used to. Those are all things about this character that are very interesting.

There are two more interviews with Showrunner Malcolm Spellman and Director Kari Skogland included in the issue!

If you'd like to get a copy, SFX Magazine Issue 337 is available to purchase both physically and digitally worldwide! https://magazinesdirect.com/mobile/az-single-issues/6937139/sfx-magazine-single-issue.thtml

#anthony mackie #sebastian stan #sam wilson #bucky barnes #sambucky #stackie #falcon and winter soldier #the falcon and the winter soldier #tfatws #disney plus

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akankshaa-11 · 3 years ago

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My favourite fictional male characters-

Fitzgerald Darcy, Leo Bonferroni, Tristan Caine, Atlas Corrigan, Dainn Blackthorne, Reese Carroll, Hardin Scott, Alex Volkov, Vad Deverell, Dante Maroni, Aaron Blackford, Pike Lawson, Malcom Saint, Daniel Daniels, Christian Troy, Emeric Marceaux, Cassio Moretti, Daniel Lodge, Logan Bennett, Miles Archer, Jack Hawthorne, Ferro Valentino, Brett Wells, Caleb Asher, Liam Wes, Luca Carenthos, Jeremy Marsh, Jameson Miles, Liam Luciano, Alessio Genovese, Nicolas Russo, Christian Allister, Brandon Campbell, Cole Stone, Federico De Santis, Luca DeSantis, Alessandro Villanova, Noah Slade, Liam Xander, Dominic Romanova, Luca Valenté, Landon Carter, Elliott Miles, Adrian Volkov, Joshua Stanton, Cameron Stanton, Dean Warren, Daniel Cross, Grayson Maxwell, Clay Nichols,

...........to be continued

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reflexoes-aluno-ifsp · 3 years ago

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Compreendendo a avaliação formativa, Villas Boas.

No final do século XIX, era comum a aplicação de métodos na natureza com o intuito de entendê-la e controlar suas ações. Porém, Eisner (1993) nos aponta que laboratórios (da Alemanha com Fechner e Wundt e da Inglaterra com Galton) estavam buscando aplicar essa ideia com seres humanos. Já era de comum senso que a natureza obedecia determinada ordem, sendo então observados padrões e, por meio de diversos métodos era possível descobrir e quantificá-los. Por isso a matemática possuía tanto prestígio: reduz a subjetividade e oferece subsídios para que possamos mensurar os objetos de estudo.

Essa racionalidade tão forte foi também levada para as pesquisas sociais fazendo com que os métodos estatísticos fossem cada vez mais utilizados, criando uma verdadeira e objetiva descrição do mundo. Eisner se sentiu otimista, pois em sua visão, a prática educacional agora podeira se voltar verdadeiramente para como as pessoas aprendem, auxiliando a política educacional a melhor contemplar esses conceitos.

Porém, esse pensamento fez com que a avaliação fosse entendida como um teste, principalmente após Robert Yerkes (1929) desenvolver testes para as forças armadas. Esses testes conseguiam mensurar o nível de alfabetização dos homens alistados, para que pudessem ser norteados para determinadas funções. Assim, fez com que as ciências sociais ganhassem importância significativa. Acabaram, então, representando uma concepção de testagem e avaliação, que posteriormente viria a sofrer mudanças.

Essas mudanças começaram a ocorrer na década de 60. A educação norte americana passou por uma reforma ao perceber que avaliações padronizadas visando compreender o desempenho dos alunos não eram capazes de avaliar adequadamente os resultados dos novos currículos. Assim, voltaram o foco para o que estava sendo ensinado e em como alcançar o que ainda era preciso ensinar. Pela primeira houve uma preocupação para que os jovens pensassem como cientistas, deixando de lado um modelo escolar que presava pela técnica e algoritmos em matemática, por exemplo, para começar a buscar que os alunos entendam a estrutura da matemática.

A avaliação, então, deixou de ser apenas um teste e passou a ganhar corpo. Para além de apenas quantificar o desempenho do estudante, agora também passou- se avaliar os componentes curriculares e atividades desenvolvidas. Portanto, começou a fazer parte do complexo cenário educacional. Agora a avaliação não é mais uma busca de conhecimento e sim uma tomada de decisão. Sendo utilizada para fortalecer a prática.

Essa introdução nos da base para começarmos a pensar a respeito de dois tipos de avaliação: formativa e somativa.

Allal (1986) e Crooks (1988) entendem que a avaliação somativa está atrelada a obtenção de uma nota, tendo seu papel principal a certificação e a conferência de um diploma.

A avaliação formativa, por sua vez, teve seu nascimento com Scriven (1967). Allal (1986, p. 176) nos aponta que para Scriven o objetivo era avaliar o currículo, manuais, métodos e afins. Sua grande vantagem se dá pois ela permite ajustes enquanto se testa os meios de ensino.

Bloom (apud Allal 1986, p. 176) e seus seguidores a expandiram, aplicando-a em alunos. Assim, ela os norteara sobre a lacuna que há entre eles e os objetivos propostos, auxiliando a respeito de tomadas de decisões visando uma melhor aprendizagem. A primeiro momento pode-se confundir com uma avaliação diagnostica, porém Cardinet (1986) nos explicita suas diferenças: saímos da visão do erro como algo que precisa ser consertado, tornando-se fonte importante de informação sobre como o aluno está aprendendo. Ela é conduzida pelo professor e destina-se a promover a aprendizagem. Não é baseada totalmente em critérios, foca em respeitar o tempo e esforço do aluno

Allal ainda contribui para o tema nos afirmando que a avaliação formativa tem como função fornecer informações que contribuam para reorganizar o trabalho, sendo necessária e utilizadas durante todo o processo e não ao final dele, pois assim não promoverá mudanças. É ela que irá nos auxiliar a encontrar as dificuldades dos educandos, promovendo uma melhor aprendizagem. Ao contrário, a avaliação somativa deve ocorrer no final de períodos, para aferir uma nota/certificação sendo um meio de determinar a efetividade das atividades contempladas.

Caso esteja avaliando determinado programa educacional, a formativa nos fará obter os melhores resultados finais, e ao final, caso queira decidir se deve ou não reaplicar esse programa, deve-se fazer uso da outra.

Popham (2008) traz ênfase para a delicadeza desse processo. Aponta que não existe um “teste formativo”. O teste é um instrumento para coleta de dados. Se, ao obter esses dados o educador promover ajustes para que consiga alcançar seu objetivo final, será formativo. Caso use para fazer uma mensuração, somativo. Também não deve ser utilizada para mudanças futuras. Esse processo avaliativo é feito durante a processo e construção de conhecimento dos alunos, por isso precisa promover mudanças no momento, caso contrário não contribuirá para sua aprendizagem.

Ainda sobre esse contexto, a autora nos aponta observações importantes:

As circunstâncias individuais devem ser observadas se a avalição pretende contribuir para o desenvolvimento da aprendizagem e para o encorajamento do aluno [...] A combinação da avaliação baseada em critérios e a consideração das condições do estudante fornecem informações importantes e é coerente com a ideia de que a avaliação formativa é parte essencial do trabalho pedagógico. A identificação de problemas ou dificuldades que os estudantes possam ter pode ser feita somente por meio dessa combinação de informações. (VILLAS BOAS, 2011, p. 20).

Black e Wiliam (1998) concordam com essa visão de Popham. Por meio de suas pesquisas perceberam que esse termo não estava presente na literatura. Contudo, se assemelhava a outros já existentes, como “avaliação de sala de aula”, “avaliação baseada em currículo”, “feedback” etc. No Brasil adentrou às escolas junto da iniciativa de democratização do ensino. Sendo uma abordagem trivial para melhorar o ensino de todas as pessoas.

Dando continuidade, os autores relatam resultados obtidos dos estudos de Crooks (1988) e Black (1993), onde as práticas de avaliativas eram fracas, encorajando o mecanicismo, sendo superficiais e de uma forma mnemônica. Alguns professores não traziam feedback algum aos seus alunos, gerando pouca reflexão, pois tomavam sua atenção apenas nas notas e não na promoção da aprendizagem. Apontam, ainda, resultados de pesquisas sobre práticas avaliativas. Foi verificado que professores não entendem o que é uma avaliação formativa e que exigências adicionais influenciam muito sobre suas práticas.

É preciso que o professor rompa com a ideia tradicional de ser detentor de todo o conhecimento, subjugando os alunos a tabulas rasas. Pesquisas recentes mostram que esse problema ainda é atual. Ao trabalhar com atividades escritas que buscam compreensão informações novas, há uma forte presença da memorização, deixando de lado a reflexão e a investigação nas práticas dos professores.

Ao realizar um estudo com entrevistas a professores dos Estados Unidos, Jhohnston et al. (apud Black e Wiliam 1998, p, 18) percebeu que o tema avaliação era um conflito, gerando angústia, insegurança e frustração. Os docentes alegavam se sentirem pressionados por exames externos. Baseando nessa pesquisa, concluíram que a avaliação não é apenas um componente técnico. "É uma questão profundamente social e pessoal” (VILAS BOAS, 2011, p. 23)

A autora cita diversos autores – como Bennett et al. (1992), Ratcliffe (1992), Harlen e Malcom (1996), Buttler e Besley (1987), Simpson (1990) e Wiliam e Black (1996) – apontando que testes externos fazem com que os professores acabem assemelhando suas avaliações a eles, abandonando ações de feedback.

A literatura internacional abrange essa problematização. Segundo elas, a avaliação é parte fundamental para as ações que ocorrem na sala de aula e na escola. Assim, a implementação de políticas objetivando avaliar as escolas acaba levando a diversas outras mudanças.

Voltando os olhos ao Brasil, em 2008 escolas do Distrito Federal passaram por um sistema de avaliação externo, visando mensurar o desempenho dos estudantes, o trabalho dos professores e gestores, além do tempo para cursar cada ciclo escolar. Ao fim, foi elaborada uma listagem com o ranking das melhores escolas da cidade. Percebeu-se que essa política fez com que os educadores voltassem sua atenção para o resultado do exame externo, deixando em segundo plano a aprendizagem dos estudantes.

A respeito da atuação do professor, ao se optar por uma avaliação formativa, duas ações serão principais: conseguir que seu aluno entenda a lacuna que há entre o objetivo a ser alcançado e a situação atual; o que se fazer para superar essa lacuna. Vilas Boas enfatiza a importância da autoavaliação nesse processo.

A autora cita Black e Wiliam mostrando que, para eles, deixar o aluno de fora do processo avaliativo é um grande equívoco. Devemos envolvê-los nesse processo e para isso precisamos nos atentar a fatores que influenciem na recepção da mensagem sobre a aprendizagem e as decisões pessoais de modo a atuar sobre ela, nos atentando aos efeitos dos objetivos de aprendizagem, com os riscos envolvidos na ação, com a capacidade de agir pois tudo isso influencia na motivação do estudante. Precisamos também nos ater a métodos e disciplinas de estudos que nos auxiliem a melhorar sua aprendizagem.

O autor não rejeita os testes padronizados. Considera que esses testes geram uma produção para que se consiga obter resultados altos. Contudo entende que esse não pode ser o principal, visto que não tem interferência direta (não há ajustes) na atuação do professor e nem na motivação dos estudantes. Continua dizendo que as decisões mais importantes precisam ser baseadas nos processos avaliativos que ocorrem no dia a dia do aluno.

Nas últimas décadas as pesquisas focadas na criação de novos testes (para apurar o desempenho dos alunos) vem tendo avanços importantes. Como consequência, temos diversos programas em todos os níveis de ensino buscando esse tipo de mensuração. O grande problema está em deixar de lado todo o amplo universo que circunda a avaliação, incluindo a que ocorre em sala de aula. Caso ela não seja adequada, esses programas passam a ser um desperdício de tempo e dinheiro (VILAS BOAS, 2011, p. 30).

Como dito posteriormente, Black e Wiliam apontam ser trivial envolver os educandos no processo avaliativo. Assim, espera-se que ele participe da definição dos critérios avaliativos, permitindo que saiba o que espera de sua aprendizagem. Enfatizam, inclusive, que é necessária essa participação desde pequenos para que seja gerada uma cultura de avaliação desassociada de uma nota e da reprovação/aprovação.

Também é preciso que haja um envolvimento do registro das atividades; esse processo fará com que a avaliação seja o espelho de seu crescimento. Para isso, podemos nos utilizar de diversos instrumentos, como, por exemplo, o portifólio.

Para concluir, ainda é preciso que o processo de comunicação seja incentivado. Nele, o aluno partilha as informações a respeito do seu progresso. Podemos propor momentos de exposição (para pais, alunos, ou um grupo de professores); esses momentos trarão motivação, segurança e responsabilidade com o que se está aprendendo, além de momentos como esse serão comuns na vida dessas crianças, contribuindo para sua formação como cidadão.

Essas atitudes irão colocar o aluno como protagonista de seu destino acadêmico.

Para que essas discussões se tornem comuns no dia a dia do docente enfrentamos um enorme problema: a sua preparação para avaliação. Atualmente ainda há problemas na formação desses profissionais, pois dentro de seus cursos a maioria de seus professores não tem formação pedagógica e reproduzem oAo praticar essa avaliação, podemos nos tornar responsáveis pela verificação da lacuna e dos caminhos que utilizaremos promover a aprendizagem. Porém, também podemos escolher tornar o aluno protagonista dessa atividade. Para que seja possível, o aluno precisa desenvolver a capacidade de se avaliar e compreender a avaliação de seus colegas a seu respeito, utilizando assim, da autoavaliação.

Por muitas vezes é deixada de lado, porém precisamos nos atentar a ela. Na vida do educando será preciso saber se autoavaliar para que possa sempre melhorar como pessoa, ou em uma área específica. Logo, para a formação como um cidadão completo, é preciso que a escola trabalhe isso.

Estudos realizados na Europa – como por exemplo, o estudo de Ellshout-Mohr (1994) – apontam que muitos estudantes precisam ser convencidos de que alguns itens não foram aprendidos, apresentando defasagem na capacidade de se autoavaliar. Perceberam também que quando um estudante não consegue se planejar para desenvolver um determinado tipo de estudo, também não conseguirá fazer um bom uso do feedback feito pelo professor. Todos esses pontos tornando cada vez mais eminente se trabalhar com essa competência.

Além da capacidade citada acima por parte do aluno, o feedback do professor também precisa ser adequado. A autora cita Kluger e DeNisi (1996 apud Black e Wiliam 1998, p. 48) que definem feedback como ações de agentes externos, fornecendo um parecer sobre aspectos da do desempenho de alguém. Já Ramaprasad (1983) explica que feedback é a informação sobre o nível atual em relação a um nível de referência, com a intenção de diminuir esse espaço entre eles. Black e Wiliam (1998, p. 53) definem mais simplesmente: toda e qualquer informação fornecida ao estudante sobre seu desempenho, sem a necessidade de se comparar a um critério padrão, visto que o aluno pode ser avaliado segundo seus próprios termos.

Ao escrever um artigo sobre avaliação, confiança do estudante e sucesso escolar, Stiggins (1999) questiona a avaliação com caráter intimidador ou punitivo, e sugere uma avaliação que auxilie na construção da confiança do estudante – visando que ele deva se sentir à vontade e seguro no seu processo de aprendizagem –. Ao escrever essa obra, sua ideia principal está em como ajudar esses estudantes a querer aprender e se sentirem capazes de aprender, enfatizando que o principal responsável pelo sucesso acadêmico são os próprios discentes.

Essas atitudes irão colocar o aluno como protagonista de seu destino acadêmico.

Para que essas discussões se tornem comuns no dia a dia do docente enfrentamos um enorme problema: a sua preparação para avaliação. Atualmente ainda há problemas na formação desses profissionais, pois dentro de seus cursos a maioria de seus professores não tem formação pedagógica e reproduzem o comportamento de seus antigos mestres. Avaliando de forma autoritária, voltada apenas para a mensuração (obtenção de uma nota). Em muitas licenciaturas, é elaborado apostila por professores considerados competentes, e assim, na sala de aula, os docentes e os licenciandos olham determinado conceito apenas pelos olhos desse autor. Se privando de pesquisas críticas e reflexões.

É nesse contexto que diversos educadores são formados

Para reverter esse quadro precisamos atualizar o trabalho pedagógico dos cursos de formação de professores, e também que haja mudanças que tragam condições adequadas de trabalho e de formação continuada para os educadores que já estão em atuação. Esses cursos de formação não devem ser padronizados, mas sim visar conhecer as necessidades locais e programar ações mais convenientes a cada contexto.

Nos relembrando que a avaliação não é neutra, Freitas (1995, apud VILAS BOAS, 2011, p. 35) nos relembra que a avaliação não é neutra: está a serviço de um objetivo tanto sociais quanto da escola. Vilas Boas diz que a avaliação utilizada hoje em dia não é adequada para a formação de um cidadão crítico, e ainda nos questiona: “Por quê? Falta de preparo dos educadores ou intenção da manutenção da situação de subalternidade de milhões de brasileiros?” (2011, p. 34).

Para que essa formação seja contemplada, espera-se que o docente não se apoie apenas a um tipo de instrumento avaliativo, também não deve excluir instrumentos tradicionais (como uma prova), tendo em vista que cada instrumento irá trazer evidências de aprendizagem diferentes.

Outras habilidades importantes são a de expressão escrita e oral. Vários instrumentos podem nos auxiliar no desenvolvimento dessas habilidades, indo desde provas, redações, relatórios, portifólios, até conversas informais e formais, apresentação de pesquisas, apresentação de portifólios e etc.

Além de tudo isso, os alunos também precisam desenvolver atividades em grupo. Para isso é importante que o educador avalie em duas etapas: grupal e individual. Para a grupal é importante nos ater a análise do processo desenvolvido, apresentação oral e conclusões. A avaliação do processo individual é conduzida pela análise das atividades que cada estudante desenvolveu durante todo o processo. Aqui faz-se importante também a autoavaliação, sendo o componente principal da avaliação formativa.

Todos esses aspectos avaliativos explicitados até agora fazem parte das avaliações formais. Contudo, tão importante quanto, são as avaliações informais. Stiggins trabalhou com esse tipo de avaliação quando rejeita a avaliação com caráter intimidadora. É importante pois permite que o professor conheça mais profundamente seus alunos: conhecendo seus anseios, objetivos, desejos e afins. Pode ocorrer em conversas informais – seja em um momento destinado a dúvidas, quando um aluno expõe a forma como está desenvolvendo sua atividade e até quando o professor circula pela sala de aula observando os estudantes trabalharem –. Na avaliação informal, normalmente os alunos não têm a percepção de que estão sendo avaliados.

Estes momentos são avaliativos, pois, o professor consegue compreender a aprendizagem de seus educandos, tendo a oportunidade de acompanhar o que o aluno aprendeu e o que ainda não aprendeu. A avaliação informal é muito importante, pois dessa forma o aluno consegue expor de diferentes formas (oral, escrita, corporal e etc) a sua aprendizagem em situações que não estavam sobre o controle do professor (como estaria se fosse em uma sala de aula). Caso o professor consiga mesclar as informações da avaliação formal com a informal conseguira compor uma

compreensão muito próxima da real sobre o desenvolvimento de cada aluno.

Benigna Maria nos alerta a respeito da responsabilidade desse tipo de avaliação:

Precisamos nos lembrar sempre de que o estudante se expõe muito ao professor, ao manifestar suas capacidades, suas fragilidades e seus sentimentos. Cabe à avaliação ajudá-lo a se desenvolver, a avançar, não devendo expô-lo a situações embaraçosas ou ridículas.A avaliação serve para encorajar e não para desencorajar o estudante. [...] Por isso, rótulos e apelidos que desvalorizem ou humilhem o aluno não são aceitáveis (VILLAS BOAS, 2011, p. 37).

Tendo em mente a importância desse tipo de avaliação, espera-se que as licenciaturas deem ênfase a esse tipo de avaliação.Para a aprendizagem é importante que o professor consiga demonstrar a importância da produção de seus alunos, para que assim os motive. Por isso, até mesmo ao ler essas produções, devemos nos atentar a devolver comentários o mais breve, pois faz com que eles entendam que o que foi escrito é importante; caso contrário, o aluno pode interpretar que é insignificante a ponto de não merecer ser lido.Toda a construção até agora nos mostra a importância de nos atentar à avaliação. Seu principal foco é ajudar o estudante a se desenvolver e a melhorar sua qualidade de vida. Sempre devemos nos remeter ao cerne da avaliação: a tomada de decisão – O que fazer com os resultados obtidos? –.

A autora termina o capítulo com uma citação que acabou por ser impossível não trazer também para este resumo. Hoffmann (2005, apud VILAS BOAS, 2011, p. 40) nos motiva a “fazer o exercício de ‘aprender a olhar’ aluno por aluno conhecendo seu espaço de vida, suas iniciativas, seu fazer de novo, seus afetos e desafetos, dissonâncias, seus piercings e tatuagens, o inusitado, tantas vezes”

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lena-in-a-red-dress · 5 years ago

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Greek Gods & Goddesses - Katie McGrath Edition:

Elizabeth Carruthers - Athena

As daughter, chosen, or mortal avatar, there is no better character to represent Athena than Elizabeth Carruthers. From her keen business strategy (a war of its own kind, in the wild frontier of colonial Canada), to acumen in all things textile, Elizabeth is a fierce as a warrior, as keen as a general, and as alluring as the virgin goddess herself. Not to mention that Elizabeth Carruthers is 100% that bitch who’d start a war over an apple (or a bad business deal).

Sarah Bennett - Persephone

Like Persephone and her spring, Sarah Bennett brings new life to Waterbury when she returns after a long absence. While her return does bring the Executioner to Waterbury, she also returns the life of Ariel Peterson, reuniting her with her mother. And also in the likeness of Persephone, circumstances beyond her control pull her into a world of death-- a world Sarah eventually embraces, and uses to her advantage. But never forget that while Sarah’s return brings the Executioner to Waterbury, she also returns the life of Ariel Peterson.

Zara Young - Apollo

Apollo is a god renowned for his oracles, and who else embraces this role so poetically than the woman reading Ian Malcom’s book about chaos theory the morning Jurassic World goes to shit? Apollo is also a patron god of shepherds, which is Zara’s primary role in the film, first as Claire’s assistant, and then in the guardianship of the two children thrust into her care.

Gloria Miller - Nike

Nike is the Greek goddess of victory, and often depicted in the service of other gods. When the god ride to war, Nike is at their side, and it is in this manner that Gloria Miller comes into her own power. Though her prowess in combat is identified early, Gloria is a weapon wielded at the will of others. Like Nike, she earns victory and fame for others-- never herself.

Lucy Westenra - Aphrodite

As the Greek goddess of love and beauty, Aphrodite is often described as both insatiable and unattainable-- sound familiar? Lucy is a catch for any gentleman in society for both her charm and beauty, but her devotion to the love she cannot have thwarts many a man’s ambition. And perhaps Aphrodite’s role in the onset of the Trojan War would be an appropriate mention as well-- like Aphrodite, Lucy’s petty manipulations sets off a chain of events that changes the course of history.

Eve - Hestia

“Well-behaved women seldom make history.”

Hestia is the unsung goddess of the Greek pantheon. Despite the prominence of her domain in the hearth and home, she seldom sees the kind of spotlight her Olympian brethren did. In much the same manner, in Hozier’s “From Eden”, Eve is a figure identified solely by the comfort she gives a traumatized little boy-- an act that does not see her celebrated, but arrested for crimes unseen.

Kate Foster - Artemis

Though one of the three virgin goddesses of the Greek pantheon, Artemis and her hunters have become modern champions of lesbian women. Kate is staunchly that, and echoes the hunter Artemis once was. As a straight shooter who helps guide Erica to her truth, Kate seems to inherit her role as a protector of women as well.

Lena Luthor - Hera

Perhaps a controversial assignment, two different quizzes cast Lena Luthor as Hera, mother of the gods. Perhaps best known for her cruel treatment of the women fancied by her straying husband, Hera is also cast a kind and nurturing figure. It also bears noting that her rage only emerged in defense of herself and her domain… a quality that sits well on the shoulders of a woman loyal to her friends and the betterment of society.

Harriet - Eris

Not much is known about Eris or Harriet. What we do know is that Eris is the Greek goddess of discord, and like her, Harriet is always up for a little misadventure.

Jodi Rutherford - Tyche

Tyche’s domain is that of good fortune, and for much of Jodi’s story her life seems to be predicated on the concept of luck, both good and bad-- a relationship she feels unworthy of, a career that has yet to flourish, and even her journey to South Africa, where her arrival is greased by a case of mistaken identity. But Tyche is also associated with the concept of destiny, and in a similar manner, Jodi’s happiness only comes to fruition when she rejects the culmination of her of luck for a fate of her design.

Oriane Congost - Ares

As the carnal, untamed aspect of war, Ares is an easy match for Oriane Congost, whose singular pursuit of survival and dominance over all spans years of violence and bloodshed. Like Oriane, Ares rarely succeeds at his chosen task when he appears in legend, often humiliated by his brethren and their chosen mortals. Ares is also notable for his many sexual partners, a concept to which Oriane is no stranger.

Morgana Pendragon - Nemesis / Hecate

At one time, I believe Morgana might have been the chosen of Hecate, the goddess of magic, sorcery, and crossroads. But when Morgana was faced with her own crossroads, she chose the path of Nemesis, the goddess of divine retribution. Nemesis is largely characterized as being neutral in the retribution she bestowed, neither good nor bad, but is most noted for punishing those who succumbed to hubris. She is implacable, and unyielding, and entirely righteous. If Morgana’s tale had been told by one other than Merlin or that of his allies, it would be remembered that her rage was well-earned.

Jules Daly - Daughter of Hephaestus

Neither crippled nor disfigured, Jules bears little resemblance to her father. But her heritage is unmistakable. Where her godly parent might be more renowned for the weapons and armor forged for the gods and their mortals, he was also quite simply a craftsman, and with every small gadget she fixes, every clock she gets ticking, Jules Daly makes a proud father beam with joy.

Honorable Mention: Elsa Pendragon - Iphigenia

Though not an official member of the Greek pantheon, enough legends depict Iphigenia as being immortalized by Artemis when she is rescued from becoming a sacrifice to her father’s war that it would be a disservice to exclude her from this list.

Similar to Iphigenia, from her inception as a character Elsa exists solely to be a lamb for slaughter at the hands of her husband Vortigern. Perhaps there is a version of her tale where she too is spirited away from the killing blade, and granted a life of peace in Artemis’ service.

#greek gods and goddesses #greek mythology #katie mcgrath #characters as greek pantheon #i got a little creative #some demigods #some chosens #some personifications #meta #character study #it is what it is #thoughts?

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