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#what a flawed masterpiece
heirbane · 9 months
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S.hadowbringers gaius is held in my heart in the same place as t.lou2 j.oel and I think that explains a lot
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frogs-in3-hills · 2 months
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rewatching hxh is crazy like the foreshadowing is so good. i’m just as emotionally engaged as i was the first time watching but in a COMPLETELY different way bc it’s almost hard to watch through the sheer sense of foreboding you feel as gon learns more and gains more power. his recklessness was always taken quite seriously by the narrative and that’s clear on a first watch, but knowing exactly what happens and where that self-abandoning recklessness, that thrill-seeking, that bullheaded perfectionism (not to do everything perfectly but to do everything with perfect accordance to his own terms), and that childish willingness to disregard everyone else in pursuit of his own impulsive goals (thereby reinforcing his own worldview for better or worse) goes… the show is SCREAMING at you that this is all going to go horribly wrong and it’s so sinister in this weird offhanded way, like it’s sticking to shounen tropes just close enough that you definitely notice something off but don’t suspect it’ll snowball the way it does.
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jinxphobic · 10 months
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I think I have discovered I particularly enjoy extremely very amazingly well written very very very very very very very flawed women and not just that they are hot but everything about their characters and being their biggest apologist and analyzing everything and anything ever 😍🤤
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gunkbaby · 2 months
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Sometimes i check the tokyo ghoul tag on tumblr and i see u guys acting like tg is objectively bad and i honestly feel like maybe there’s confusion between ‘thing we can critique’ and ‘objective rubbish’. A lot of it feels like saltiness that certain fave characters didn’t get adequate exploration - which obviously I understand. But also im like…that doesn’t make it bad tho…
Is it a joke my autistic ass can’t pick up on or do u guys actually think tg is bad.
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novelmonger · 2 years
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The dialogue in Andor is so good. Every episode, I find myself amazed at how expertly written it all is--when usually, I don't tend to notice film writing unless it's particularly bad. But when I watch Andor, I feel like I'm sitting through a film-writing masterclass. Most recently, episode 9's dialogue stood out to me as particularly excellent. If I could take one lesson from this episode, it would be:
Good dialogue does not have to be elaborate.
It doesn't have to be flashy. It doesn't have to use complicated sentence structure or big words. It doesn't need people interrupting or talking over each other. Good dialogue just needs to do three things:
Convey information (plot exposition, characterization of the speaker, etc.)
Sound like something a person would actually say
In most cases, not say everything the speaker is actually thinking/feeling
(Point 3 might sound like a contradiction of point 1, but it's related to "show, don't tell." Besides, people generally don't go around saying exactly what they mean or what they're thinking, so it ends up sounding clunky and unnatural.)
And I have a perfect example from Star Wars to demonstrate my point. In my opinion, Episode II has some of the worst writing in the entire series, such as this teenage-poetry-worthy line:
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Okay, no, we need the whole poem for context. "From the moment I met you, all those years ago, not a day has gone by when I haven't thought of you. And now that I'm with you again, I'm in agony. The closer I get to you, the worse it gets. The thought of not being with you...I can't breathe. I'm haunted by the kiss that you should never have given me. My heart is beating, hoping that that kiss will not become a scar. You are in my very soul, tormenting me. What can I do? I will do anything that you ask."
First of all, who talks like that? (They sure don't! This isn't how they talk, before or after this scene.) The whole conversation is awkward and stilted, and has all the subtlety of a foghorn in a library. It conveys information, sure, but in a very clunky, cringey way that takes way too long. (And I'm just talking about the writing here, not the delivery--Hayden Christensen and Natalie Portman both did their best with what they had.)
Contrast this with the dialogue in Andor:
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"I can't help him. I can't help anyone."
Two lines. Two four-word sentences. Very simple sentences, too. No fancy words at all. And yet just think of how much they convey, whether you hear them in context or not. Yes, a lot of the power of this scene comes from the excellent acting, the expressions and body language that tells you so much more than just the words.
I don't even remember if we ever learn what this guy's name is. And yet, with those two simple sentences, we can glean so much of this man's story, his outlook on life, not to mention simply the impact he has on the plot unfolding right then.
Pretty much everything about this show is fantastic and keeps me thinking about it for days, and the dialogue is no exception. This is just one tiny example of the good writing in this show, and I can't wait to see more.
Full credit to Beau Willimon, writer of episode 9.
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dailyeca · 7 months
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sometimes i think that i should be putting him in more complex compositions and dynamic poses and cool outfits and color palettes and pretty rendering and detailed backgrounds and more characters and story-driven comics and personal meaning
and then im like. that's the fucking devil talking. dailyeca is and always was supposed to be a low maintenance blog where i draw an eca a day and this eca can be the most scribbled motherfucker in da world but as long as there's a daily eca then i've succeeded. when i have time to add cool shit i can absolutely do that but even if he's just a sketched up bust shot at 11:59, i'm doing enough because that's just dailyeca babey.
#eca orichird#daily eca#we do what we can. i am doing enough.#for a lot of other things i always feel the need to make masterpieces; art larger than myself and my scope; something with heart and soul.#dailyeca is truly like. not everything has to be perfect. this is my grimy grumpy little asshat and i can do whatever the fuck i want.#(including cursing because goddamnit i am no one's pure little angel baby anymore. i am not here for your judgement anymore.)#im not trying to impress anyone here. dailyeca has always been art for me first. i never truly announced this blog in the beginning.#if no one looked i'd still do it. i draw this angry lonely boy for me. if other people want to see i appreciate it but that's secondary.#that one tumblr poem post. ''you say 'it’s my villain era''' by ridinkskinned. sometimes i feel like making eca was my villain era.#what i mean is that sometimes people hate things when they hit too close to home. what i mean is when i first made eca i felt repulsed.#i can be angry and rude and imperfect and alone. i don't need to facade or fawn or listen at all times and be the perfect little nobody.#i can be flawed and i can still be important and i can still have a happy ending and have people love me without need to change me.#i wrote that i wanted to draw ecas with more personal meaning but every eca posted is a personal meaning in of itself.#you get it. (you probably don't. but that's fine. that's secondary.) i should work on creator and creation again.
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moonscape · 24 days
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i've been seeing gates get some belated love the past few years and it's been really nice to see
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sibyl-of-space · 8 months
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Naturally, I found the Sword familiar and the Beryl Circlet after I beat Galamoth and finished the game the first time around, so they were basically useless. This is after my roommate and I went running around everywhere and looking shit up on the internet trying to almost-200% the map so we could get the best ending. (We got to about 196% before we gave up and just looked up a map to see what we were missing.)
I am glad we got the TRUE TRUE ending, not just for Alucard, but for Maria. Go make out with the hot half-vampire man offscreen, girl
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capricornsicle · 1 year
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How are you doing post movie?
It is very much Teen Wolf. I enjoyed it.
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kicktwine · 2 years
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the past three or four media ive engaged with have all had posts made about them saying well the writers probably arent smart enough for ______ or the writers didnt do this on purpose but ______ or dont get your hopes up the writers wouldnt make these connections and i think thats enough!!! i have had enough bashing of well-meaning writers i have had enough of it from now on every writer is so so smart and everything they do is intentional and flawless and if i think a writing decision is stupid or the direction they went is bad no i dont and im gonna kiss each and every one of them on the mouth
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bl00dw1tch · 1 year
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arsonicversed · 2 years
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Blank Period + Scars reference
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vvindication · 2 years
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Cyberpunk 2077 is the cruelest game. it lured me in with the false premise of being an overhyped 1st person shooter taking itself too seriously and instead delivered a tragic and incredibly well done story. its a dystopian future yet is so grounded in the reality of how people react to death, to terminal illness, to the loss of self. its the worst game Ive played. its the best game Ive played. it needs a huge list of trigger warnings. its best experienced when you know nothing. 10/10 I would never recommend it to anyone.
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musical-chick-13 · 3 months
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I bring a real "Doctor x River OTP" vibe that a bunch of the DW fandom doesn't really like.
#the ONE good thing about college is that most of the fans I met there really did love her and this ship#but I think that might be because we were all mentally ill and Going Through It™#not that like. shipping this is a symptom of mental illness I just mean that this relationship was...honestly kind of unlike anything#else that was onscreen at the time?#she got to be MESSY. she was incredibly extra and emotional and vulnerable and she got to MESS UP SOMETIMES. IN REALLY BIG WAYS EVEN.#she was a genuinely MORALLY GREY character and all of these were seen not as things that made her inherently harmful or#someone the protagonist should At All Costs Stay Away From#but as someone uniquely equipped to understand him and STILL WORTH CARING FOR#there were so many like. BIG emotions and she was allowed to have PROBLEMS and be a lot of things that were considered#'unpalatable' for women to be and their whole thing was that he forgave her for EVERYTHING. even with all of her flaws she was the one#who 'always knew' and the one he listened to#...you can see how that might speak to a bunch of angry lonely mentally ill people#like this relationship isn't perfectly written. and I'm not trying to say that this era of the show was a grand feminist masterpiece lol#but...again. it really was a lot different than anything else that was on tv at the time#and she wasn't rail-thin and 23!!!! do you know how RARE it was for us to see a love interest outside of that!!!!!!!!!#(ESPECIALLY given. you know. the HORRIBLE toxic beauty standard culture that comes with. studying to be/actually being a performer.)#the only other like...significant female character I can think of from this tv era who was generally 'unpalatable' was...rachel from glee#and eventually they...idk what they did but she definitely became more in line with 'typical' protagonist fare#(and of course there was also the fact that THAT show--at least for a while--was ostensibly grounded in reality. and she was still#a certain age and body type)#(so I think my original point still stands)
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saraswritingtipps · 12 days
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The Villain Checklist!
Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:
Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?
Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.
Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.
Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.
Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.
Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.
Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.
Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.
Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.
Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.
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maria-eve-falcon · 10 months
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I'm in a dream of sidney sheldon books and I don't want to wake up!
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