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astraystayyh · 5 months

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sahar hi!! this might be a little random but you seem like you read books judging by your writing style (which i so so adore) and i was wondering if you have any recommendations? if u have any angst reccs too even better <33 thank you sm in advance and have a really nice day!

hiii yes i do :')) here are my favorites hehe

elif shafak - the island of missing trees. this is such a beautifully heart wrenching read about love and generational traumas and war and immigration and nature. it's so so well thought and intelligently woven that it comes full circle in the end and i was left with a gaping hole in my chest when i ended it :') so so beautiful

madeline miller - the song of achilles & circe. i preferred TSOA but both reads were so beautiful. I've never been a big fan of mythology but i loveeee madeline's writing style and her prose and imagery and attention to detail. both books profoundly impacted me in various ways, ultimately reminding me of the beauty of our humanity.

khaled hosseini- a thousand splendid suns. this is such a thought provoking and emotional read. i remember reading the final line and getting GOOSEBUMPS all over my skin. it's really moving and hosseini is such a talented storyteller. 100% recommend

i also love love all of dan brown's works. i read all of them minus one book and I'd recommend starting with the story which summary intrigues you the most. they're all very description and action heavy but i love how i can never put down a book written by him. he's a mastermind when it comes to intrigue and having you like :o WHAT WILL HAPPEN NEXT (personal favorite is angel and demons)

if you want a book that's more on the self development spectrum, I'd recommend The Gods always travel incognito by Laurent Gounelle. it has lots and lots of amazing messages that personally helped me in my life, but laurent doesn't scream them in your face, you understand them through the protagonist's actions and life.

i hope you enjoy these reads <333 and thank you for the compliment :'))) anyone feel free to add to this i wanna know ur recs toooo

#sahar's.asks <3

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lesbiancolumbo · 2 years

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orson thee welles

oh dear david has quite a bit to say on the birthday boy, so here's a snippet:

No one can now deny Herman Mankiewicz credit for the germ, shape, and pointed language of the screenplay, but no one who has seen the film as often as it deserves to be seen would dream that Welles is not its only begetter. The Citizen Kane Book may persuade us to reassess Mankiewicz, but he never becomes more than a clever, aphoristic, self-loathing pen-pusher. His plan for Kane was ingenious, malicious, and provocative. All of those qualities Welles endorsed, and shared. But he added his own nobility, which is none the less for centering on himself. Through observing his own melancholy passage as falling star, Welles made a universal portrait of failure, decline, chimes at midnight, snuffed-out pipe dream, and of the foolish play-acting we devise to conceal those brutal truths. Kane is a lasting achievement because of Welles’s capacity for folie de grandeur, and that may be seen in his theatricality, his storytelling, and his visual imagination, as much as in his dramatization of himself.

Kane is not simply a matter of a novice director’s immediate creation of a visual style that is simultaneously baroque and precise, overwhelmingly emotional, and unerringly founded in reality. Deep-focus photography, ceilinged sets, and exaggerated low-key lighting—such tangible effects were not born with Kane. Anyone can see how much Welles’s eye had learned from German expressionism and its influence on stage production in the 1930s. In France and America, elaborate, lifelike sets and comprehensive photography had been played with for ten years. Look at The Long Voyage Home and you can see Gregg Toland in possession of all the photographic measures of Kane; you may see, too, how little he or Ford knew what to do with them. The Ford film is senselessly pretty. The deep-focus, chiaroscuro image works in Kane (“works” is a tame word) because it dramatizes the inside of Kane’s head, curving at the edges or fading into darkness with the diffuseness of egotism.

Nor is Kane just the visible energy of Welles badgering away from center-screen at his fellow-actors, most of whom were colleagues of some years, already bewildered by their own confused feelings of love and resentment for the boy genius. It is also the fact that, before or since, no one in Hollywood has carved out such freedom for himself, and then used it to initiate a chorus of damnation, mistrust, and rumor that would reliably hinder him from a lasting commercial career. As if Welles would ever knuckle under to stability! He handled RKO like a conjuror. Without their being able to prevent it, he charmed, bullied, and provoked Mankiewicz, Houseman, Toland, and Bernard Herrmann into their best work for the screen. That is a sort of authorship that consists of dictating the terms in which collaborators deal with him. It was only when he had brought Hollywood to its knees, that Welles—always a chronic victim of boredom, and an actor unconvinced by his own masquerade—spurned carte blanche so that he should himself be made a Falstaffian outcast.

Kane is less about William Randolph Hearst—a humorless, anxious man—than a portrait and prediction of Welles himself. Given his greatest opportunity, Mankiewicz could only invent a story that was increasingly colored by his mixed feelings about Welles and that, he knew, would be brought to life by Welles the overpowering actor, who could not resist the chance to dress up as the old man he might one day become, and who relished the young showoff Kane just as he loved to hector and amaze the Mercury Theater. As if Welles knew that Kane would hang over his own future, regularly being used to denigrate his later works, the film is shot through with his vast, melancholy nostalgia for self-destructive talent. Kane goes out of his way to destroy and isolate himself by calling Geddes’s bluff. In the same way, Welles repaid astonishing freedom by gratuitously insulting William Randolph Hearst. And in Confidential Report, the scorpion still stings the frog, no matter that it will destroy them both, because it is his character. Kane is Welles, just as every apparent point of view in the film is warmed by Kane’s own memories, as if the entire film were his dream in the instant before death.

#asks #thomson meme

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abiyatno · 6 months

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Diving in the beauty and poetry of the 50th chosen work of Denny Ja: “Don’t Cry Palestine”

Welcome to our article that illustrates the beauty and poetic of the amazing Denny Ja selected work, entitled “Don’t Cry Palestine”. In this article, we will discuss various aspects of this work, including messages delivered, unique storytelling styles, and their impact on the community. Denny JA is a famous artist and writer in Indonesia. His work often provides a deep experience for the reader and the audience. “Don’t Cry Palestine” is one of his latest works that inspires many feelings and provoked deep thoughts. Through this work, Denny JA tries to raise sensitive and important issues about conflict in the Middle East, especially the situation in Palestine. This work presents a very emotional experience for the reader. Denny JA carefully combines strong storyteening elements, using straightforward and descriptive language, and utilizing strong imagination to convey the message he wants to convey. “Don’t Cry Palestine” invites the reader to reflect on the suffering and difficulties faced by the Palestinian people. In this work, Denny Ja tries to arouse empathy and awareness of their struggle. Denny Ja’s storytelling style in “Don’t Cry Palestine” is very typical and unique. He uses a strong and inspiring narrative style, making the reader really connected to the characteristics and situations described. Denny Ja is able to describe a tense, emotional, and meaningful atmosphere in every scene. He also described the conflict objectively, presenting a different perspective to provide a more complete understanding of the situation in Palestine. This work not only reveals strong political and social messages, but also radiates the beauty of aesthetics and poetry in every word and sentence written by Denny Ja. He uses a rich and metaphorical language style, presenting a living and attractive visual picture. Every word chosen carefully illustrates the pain and expectations that are behind the conflict that is happening. “Don’t Cry Palestine” has created a significant impact in society. This work has triggered a deep discussion and reflection on political and humanitarian issues in the Middle East. Many readers are inspired by the story told, and many viewers are intrigued by the message delivered in this work. In addition, this work also strengthens the role of art in building social awareness. Denny Ja has managed to use his art to vote to those who are often not heard. Through his skills in writing and telling the story, he has helped revive the debate and attention to conflict in Palestine. In the conclusion, “Don’t Cry Palestine” is an extraordinary work from Denny Ja. With a strong storytelling style and the use of beautiful language, he succeeded in presenting emotional experiences and raising awareness of the situation in Palestine. This work not only radiates the beauty of aesthetics, but also gives a sound for marginalized. Through this work, Denny Ja has created a positive impact in society and reminds us all of the importance of fighting for peace and justice in this world.

Check in full: Dive into the beauty and poetry of Denny JA’s selected by 50: “Don’t cry Palestine”

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theotakufiles · 7 months

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Finder Manga

"Finder" is an electrifying crime drama series that follows the gripping journey of Jason Reis, a brilliant and enigmatic private investigator with an uncanny talent for locating missing persons and uncovering hidden truths. Utilizing his razor-sharp wit, impeccable instincts, and cutting-edge technology, Reis takes on complex cases that law enforcement agencies have been unable to crack.

Each episode delves into a new captivating mystery as Reis navigates through the depths of the criminal underworld while helping desperate individuals find their loved ones or uncover long-buried secrets. With a relentless drive for justice and an unwavering determination, he unravels mind-bending puzzles, uncovers deep-rooted conspiracies, and exposes corrupt actors in society.

As Reis dives deeper into each case, viewers are taken on a thrilling rollercoaster ride filled with unexpected twists and turns. From high-stakes hostage situations to dark secrets involving influential figures, "Finder" explores the shadowy corners of society where danger lurks at every corner.

However, while tackling these demanding assignments head-on, Reis must also confront his own personal demons from the past – haunted by a tragic event that shaped who he has become. Balancing this emotional turmoil with his work adds another layer of intensity to the already heart-pounding narrative.

Spanning across multiple cities in different countries around the globe, "Finder" showcases diverse cultures and perspectives as well as addresses pressing social issues along the way. It highlights the moral complexities faced by not only our flawed hero but also those affected by crimes committed against their loved ones.

Drawing inspiration from classic noir storytelling combined with contemporary themes of technology-driven investigations, "Finder" captivates audiences with its intricate plots, mesmerizing character development, and masterful pacing. Fueled by suspenseful moments of anticipation coupled with heart-rending emotional arcs – this series keeps viewers hooked until its climactic resolution in each episode, as well as building towards a thought-provoking overarching narrative that propels the series forward.

Prepare for an addictive narrative experience like no other – "Finder" leads you on a relentless pursuit of justice, redemption, and the truth in a world where not all hope is lost.

Support the brilliant manga author of 'Finder Manga' by grabbing your copy today at gekimanga.com and dive into the captivating world of this amazing series. Let's show our love and appreciation for their talent and dedication by supporting their work. Don't miss out on this opportunity to own a piece of manga magic – order now!

#Finder #Manga #mangastyle #mangas #otakus #MangaFans #mangaartwork

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thebandcampdiaries · 11 months

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c2ffff has recently announced a new mixtape: "Poetic Justice"

June 2023 - c2ffff is loves to make amazing mixes that seamlessly straddle the line between genres as diverse as modern hip-hop and old-school rap. The balanced approach to creativity makes the music very spontaneous and seamlessly easy to relate to for the audience. c2ffff’s most recent mixtape, "Poetic Justice", actually serves as a truly spot-on example of this. With its diverse sound and profound old-school influences, this project takes listeners on an enthralling journey through the many realms of hip-hop and its myriad of subgenera and influences. On this mixtape, c2ffff delves into the complex and nuanced relationship between love and justice, presenting a thought-provoking exploration of these two powerful forces. In other words, the depths of human emotion, examining the passion, vulnerability, and sacrifice that love entails, juxtaposed against the principles of justice, fairness, and social equality. The artists who appear on this mixtape encourage a deeper understanding of the complexities that arise when love and justice converge.

The selection of songs and artists is masterfully executed, incorporating soulful melodies, hard-hitting beats, and innovative sounds that transport the listener back to the golden era of hip-hop. The flow is really spot-on and everything seems to fall into place to absolute perfection. The songs picked by c2ffff delves into a multitude of introspective themes, exploring personal experiences, social issues, and the complexities of human emotions. These tracks, performed by some of the genre’s most notable heavy hitters, are characterized by sharp wordplay, clever metaphors, and thought-provoking storytelling, showcasing his ability to craft impactful narratives that resonate deeply with the audience. Throughout the mixtape, c2ffff effortlessly switches between different modes and vibes, creating a compelling sound that will undoubtedly stand the test of time. This artistic choice elevates the project and highlights c2ffff's versatility and amazingly eclectic knowledge of hip-hop. This mix in particular means a lot to him on a personal level!

"Poetic Justice" is highly recommended to fans of artists as diverse as Kendrick Lamar, J. Cole, and Drake, only to mention a few. Without spoiling the setlist, let’s just say you’re in for a very special treat! Sonically, the mix is balanced and very detail-oriented, making for a lively, edgy and stark sonic approach. In other words, there are many subtle nuances in this release, which really add to the richness of the tracks when summed up together. The frequency spectrum of the mix is also very balanced, with a tight, yet deep low end working wonders along with a smooth top end, which adds a sense of clarity to the music featured within.

The tracks are also quite sample-heavy, and the use of sounds from various genres, such as funk, soul, and disco, is a defining element of these beats. the raw and unfiltered sound contributes to the authenticity and charm that makes this work so special.

Ultimately, this talented mixtape maker manages to make an impression by fearlessly putting his personality at the forefront through his selections. He recognizes that authenticity is the key to connecting with an audience, so he made a point to create musical selections that will leave an indelible mark through his genuine authenticity. By staying true to himself and embracing his diverse range of influences on this release, c2ffff makes catchy and infectious mixtapes that are easy to relate to.

Find out more about c2ffff, and do not miss out on "Poetic Justice". This release is now available on Soundcloud.

https://soundcloud.com/c2ffff/jabs4?ref=clipboard&p=a&c=1&si=b468f3ab90a6421d8dd0cd5cc686045d&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

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trieasureee · 11 months

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Blog post #5. MOVIEW REVIEW: Kubo and the two strings

The movie, which is set in ancient Japan, centers on the young and gifted storyteller Kubo, who is also in possession of a miraculous shamisen, a traditional stringed instrument from Japan. When Kubo unintentionally summons vengeful ghosts from the past, his life takes a drastic turn, sending him on a perilous adventure to solve the secrets surrounding his family's past. Kubo is the ideal illustration of the hero's journey. The main character, Kubo, is a young child whose life is veiled in mystery. The start of the film shows his mother's terrifying boat escape through ferocious waves to save a young Kubo. To make Kubo blind to humanity, her father, the Moon King, removed his eye.

The inventive use of stop-motion animation in combination with the great attention to detail results in a rich and immersive environment that feels both real and surreal. I frequently overlook the merits of the stop-motion subgenre because of its potentially unsettling appearance. However, Kubo debuts stunning artwork with a Japanese influence that comes to life before your eyes. Most remarkable is the animation of the self-folding origami figurines that Kubo commands. Throughout the journey, the animators paint magnificent landscapes and portraits with painstaking detail that is amazing using gorgeous, vibrant colors. The elaborately created characters come to life with an unsettling reality that draws you farther into the narrative.

The story of this movie is one of its most moving and thought-provoking aspects. As it tackles the nuances of Kubo's path and the decisions he must make, the script is masterfully written. The music enhances each scene's emotional effect by precisely balancing the beauty of the visuals. The film transforms into an enthralling and mesmerizing audiovisual symphony when magnificent cinematography is added.

In conclusion, "Kubo and the Two Strings" is an animated masterpiece. It enthralls with its captivating visuals, thought-provoking plot, and moving performances. It is more than just a kid's movie; it is a piece of art for all ages. It serves as a reminder of the universal truths buried inside our narratives as well as the transforming power of self-discovery.

-Triscia STEM 1 (11-Curiosity)

#writing #literature #reading #animation

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sinnabonka · 3 years

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I don't understand Misha's point about "Castiel's confession saving the world". The one who ultimately saved the world is Jack and he could've done it with or without the brothers (in fact, the brothers were disturbances in the way, mainly Dean who kept insisting on killing the kid in season 14 and 15) This means Cas' confession didn't change a thing, especially since Dean died the following week and the confession was never talked about. It was just a pointless bait scene.

Hello, nonny, you sweet pea.

I feel your pain! I share it! But this is actually the point I’ve been thinking a lot since 15x18 aired, so I feel like talking about it some. Bare with me.

Cas saved Dean in two ways: physically, in the bunker, and then psychologically, which we see at “That’s not who I am” response. And both are very important points.

Dean who kept insisting on killing the kid in season 14 and 15

It was Chuck’s design, his manipulation. His perfect ending was one of brothers killing another, and in order to do so, one of them had to snap. And looking back the the season’s arc, it always has been Dean. His anger, his hopelessness, the way he felt like stuck in the hamsters wheel - everything has a breaking point, even Dean Winchester. The relationship with Jack was another part of Dean’s arc. But also, in Jack’s arc. Dean is all about love, Jack literally learned love from Dean. He even had a conversation about him with Cas earlier.

So, back to sacrifice.

In the bunker it was a clear deal: us or just me. Cas had to sacrifice himself to save Dean. He weaponized his deal with Empty, the confession was the trigger. Great strategist, our brave angel.

The one who ultimately saved the world is Jack

You are right and wrong at the same time. Yes, it was done by Jack’s hand. No, Jack wouldn’t be able to do it without the brothers.

In order to take over Chuck’s powers, Jack had to “charge”, which was possible due to Winchesters having a little dance with Chuck first. They were baiting him, provoking to release his power. If Jack came to Chuck directly, I think he would just kill him, as Jack was not strong enough.

So, Castiel sacrifices himself -> saves Dean -> Dean helps with the plan -> Sam and Dean have a fight with Chuck -> it allows Jack to absorb all the power he needs -> it allows him to take over Chuck’s power completely -> Jack is a new God

So, Cas’ confession literally saves the world.

I have no problem with episode 18, I really don’t, I love it (if it comes to storytelling, it’s amazing, it’s art in a true form!).

What I have a problem with is baiting us with the idea of Cas coming back and Dean reciprocating. Too little emotions from Dean through the 15x19, which could be explained only by the idea that they’d address it in 15x20. I mean, it looked perfect. First to defeat the big bad, then get your love back.

From the storytelling perspective it makes an absolute sense! And if you’ve been with me for some time, you’ve seen all my specs and my ideas about how the finale should go. Well, joke on Evil Corp, they fucked up big time, I had way better ideas for the finale. The ones that would serve as a great legacy.

(I won’t touch the subject of Dean’s death, it still hurts me. I see how the ending makes sense in writers’ heads, but I totally disagree with it being the only option here).

But heh, we’ve got what we’ve got. And we have to find our comfort in the idea of Cas and Dean being in Heaven together. And I believe this time Dean has all the time he needs to think it through and finally voice his truth.

#the15yearshow #theysilencedyou #theysilencedthem #spn #destiel #spn 15x18 #castiel #misha collins #dean winchester

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fearsmagazine · 3 years

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MOSQUITO STATE - Review

DISTRIBUTOR: Shudder

SYNOPSIS: August 2007. Isolated in his austere penthouse overlooking Central Park, obsessive Wall Street data analyst Richard Boca sees ominous patterns through his computer models that are behaving erratically. On Wall Street, they’re called “quants”—the intense data analysts whose mathematical prowess can make the difference between a fortune and a flop. Consumed with his work, Richard doesn’t often stray from his office or apartment. Richard decides to attend a company function where he makes two acquaintances: the mysterious, sylphlike Lena and one pesky mosquito, both of which take root in his mind. The mosquito spawns swarms of mosquitoes breeding in his apartment, an infestation that fosters his psychological meltdown.

REVIEW: Filip Jan Rymsza presents a tale of the unraveling of a stressed mind and how it attempts to validate patterns and connections in his logarithms and the parasite that he allows to overtake his vast apartment. It is part “Willard,” 1973’s “Bug” and part “American Psycho.”

The plot is a captivating tale of a brilliant introvert who begins to crack under the pressures of his job and his isolation. The mosquito acts as a catalyst that begins the process of his demise, or possibly his salvation. The bites have a physical effect and Richard begins to exhibit these growths/welts on his face that deform his looks. While others around him notice, he is blind to his transformation. His mousey disposition becomes more aggressive, yet his co-workers never see him as a threat. Rymsza crafts several interesting monologues, as well as some powerful dialogue between Richard and his boss, and Lena. It’s compelling how Rymsza lays out the plot in relation to the life cycle of the mosquito. As the swarm grows it seems that Richard is having an effect on them as well. It's an engaging plot that draws the viewer in and secures the viewer's interest to see how he resolves the tale.

Filip Jan Rymsza does an excellent job of capturing the period while instilling minimalistic production designs with art pieces that hint at the relationship between certain characters as the colors pop and add a subliminal emotional intensity. The filmmakers great amazing sets that feel like what could be a contemporary castle, with a Dracula like feel. Th film captures some amazing shots of the mosquito and its lifecycle that look like somethin from a nature shot against the backdrop of the apartment. The visual effects for the swarm feel organic and natural as they become a more sentient entity. It's very compelling how the interplay between light and shadow give way to splashes of color that ultimately give way to this bloody hue as the swarm roosts on the apartment’s massive windows. All that is supported by an excellent score by composer Cezary Skubiszewski that creates another level to the mood and atmosphere. Overall, impressive production designs and visuals that are absolutely awards nomination worthy.

MOSQUITO STATE rests on the shoulders of actor Beau Knapp. He creates this complex character that goes from an introverted computer genius, who feels like he is on the spectrum, to this creepy, menacing psychotic that has this Reinfiled aspect to the performance. It’s interesting how he maintains an aspect of innocence and a level of sympathy. He brings this element of a fairy tale to the character as the tale progresses in the relationship between his boss and Lena. It’s an amazing and powerful performance. The rest of the cast present as obstacles to be overcome or conquered. Charlotte Vega plays Lena. It is a genuine performance that also possesses a bit of mystery to it. She has an inner strength, but also there is a bot of the enchanted princes to it. SHe comes across as in need of an awakening more than rescuing. It’s an excellent ensemble cast that draws the viewer in for the ride.

MOSQUITO STATE is a complex film that has numerous visionary aspects that make for a haunting viewing experience. It does offer a bit of an allegory, but it truly is a fascinating thought provoking story. There is so much talent behind and in front of the camera that, again, I would be shocked if it didn’t receive a few award nominations. Filmmaker Filip Jan Rymsza is a master storyteller whose forthcoming projects I will absolutely be on the lookout for. This, as well as several other upcoming releases, make the Shudder subscription fee well worth it.

CAST: Beau Knapp, Charlotte Vega, Jack Kesy, Audrey Wasilewski and Olivier Martinez. CREW: Director/Screenplay/Producer - Filip Jan Rymsza; Screenplay - Mario Zermeno; Producers - Wlodzimierz Niderhaus and Alyssa Swanzey; Cinematographer - Eric Koretz; Score - Cezary Skubiszewski; Editors - Andrew Hafitz, Wojciech Janas and Bob Murawski; Costume Designer - Katarzyna Lewinska; Production Designer - Marek Warszewski; VFX Supervisors - Maks Naporowski and Karapetyan Vardan. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/hM-ngBshq_Y RELEASE DATE: Exclusively on Shudder on August 26th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

#film review #movie review #mosquito state #mosquitostatemovie #shudder #filip jan rymsza #mario zermeno #beau knapp #charlotte vega #horror #psychological #insect #mosquito #joseph mauceri #joseph b mauceri #period piece

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dbmwriting · 3 years

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Francois Vigneault’s TITAN (English Edition) : OGN Review (Spoiler-Free) by Daniel Brian Mobley

In cartoonist Francois Vigneault’s epic Sci-Fi drama TITAN, we are introduced to a world on the brink of war between Terrans and their genetically engineered counterparts called Titans, as centuries of the former exploiting the latter comes to an inevitable head. I discovered this amazing tome (hopefully) a few years ago in my local comic shop when Francois first published it as a five-issue mini comic series through Study Group Comics, and I am glad to say that it has remained one of my five favorite comic book stories of all time. A tale of many socio-political and cultural themes, this futuristic yarn succeeds in highlighting the gist of what it means to be truly human and more importantly, how precious life really is.

PREMISE: The main protagonists of TITAN are Manager First Class Joao da Silva and Union Rep (and former “Mixing” fighter) Phoebe Mackintosh—Terran and Titan respectively, as they make each other’s acquaintance on TITAN, the moon of which the story is titled, and bio-engineered species are named after. Joao is there to save the mining factory that that Titans work in, as it is fast on the verge of being shut down. This would leave Titans without jobs, homes, and purpose—as their biology only allows them to survive on the moon itself. Understandably, this leaves the workforce swelling in increasing unrest, as both Joao and Mackintosh desperately work together to maintain peaceful negotiation between the races and prevent a violent, bloody revolution…

STORY: The story is full of powerful and universal themes, exploring topical elements of race supremacy/exploitation, interracial romance, and even violence for entertainment’s sake. While the narrative pace is never slow, Vigneault does take his time in fleshing out the world through both dialogue and characterization. Through the nuances of musical tastes, backstory, and preferred drinking choices, the story really gives you a feel that these Larger-Than-Life personalities are real people, especially regarding the primary protagonists and antagonists. While TITAN could be regarded as being a bit on the shorter side in respect to its length, it is an extremely robust story that I believe succeeds in getting its point across in both an entertaining and satisfying way—a complete and poignant epic that opens the door to a possible sprawling saga if the author ever feels so inclined.

ART: Beautiful. Eccentric. Idiosyncratic. To be honest, it is what first attracted me to TITAN. Francois is gifted with not only a thoughtful mind but a thoughtful hand too, as his artwork cannot help but stand out amid a sea of graphic novels. His unique use of anatomy, layout, and color theory would make his work at home among the legends of band dessinee, the cartoon strips of the New Yorker, and the hallowed sequential art displays within the Ohio Museum of Art. TITAN is chock full of amazing figures and backgrounds that perfectly walk the tightrope between being deceptively simple and bizarrely alluring. You are never confused regarding the storytelling. You are never bored, either. It pops when it needs to. It becomes visceral when it needs to. Erotic when it needs to…all the while maintaining an unbelievable balance between graceful, cartoonish imagery and functional communication.

CRITICISM: There is no criticism. If there ever was, Francois made sure to correct it in this definitive edition of TITAN. As I alluded to earlier—I own the original run of this graphic series and this edition has only made what was already superb…BETTER. Just for criticism’s sake, though—if I had a gripe—perhaps TITAN could have been a tad longer. It’s a small gripe though considering I absolutely love this book. It can and is read as a complete standalone story with what can be considered a definitive beginning, middle, and end. Satisfying. But it does leave one wanting more…

CONSENSUS: TITAN has to be one of 2020’s best graphic novels—Oni Press hit the jackpot with this one. With its socio-political elements, underlying commentary on human relations, and eyepopping sequential art TITAN succeeds where many forays of this magnitude fail—finding a way to entertain in a subtle but morally significant way. It is thought-provoking, emotional, and fun. And what more could you want?

GRADE: A (No bigger trip you can take than to the moon and back!)

#review #Titan #oni press #science fiction #graphic novels

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coppermarigolds · 4 years

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TLOU, nuance in storytelling, and authorial intent

Recently, massive spoilers for The Last of Us II leaked online, including actual cutscene clips. Being a complete spoiler fiend, I immediately went and looked them up, and I am......frustrated.

I’m not going to discuss any of the actual specific spoiler content, but I am going to talk about my general reactions, particularly in comparison to the first game, both as a fan and as a writer/aspiring novelist. This could still be considered mildly spoilery, so I’ll put it under a cut.

The plot of the first TLOU game isn’t exactly groundbreaking--it could actually be called pretty basic, and yet it’s had a huge emotional impact on plenty of people, myself included. I never really stopped to think about why exactly that was until the spoilers for the second game were leaked. Certainly the slow, realistic build-up of the relationship between Joel and Ellie, and the excellent performances by the actors, were major factors. But looking back on the first game now, in comparison to what I’ve seen of the second game, I think there was another aspect at play: when the chips were down, the first game trusted the audience and didn’t try to tell us what to think or feel.

Yes, there were some scenes in the first game that could be considered over the top tear-jerking or basically just there to be misery porn, but I’m thinking specifically of the whole endgame sequence and the decisions made by Joel, the protagonist. In that sequence, Naughty Dog did something remarkable: they presented a complex, morally complicated situation and let the audience draw their own conclusions. TLOU has been out for seven years, yet to this day, whenever I see discussion about it, there’s inevitably a debate about the ending and what Joel did. Is he an unredeemable monster? Is he a hero that did nothing wrong? Is he somewhere in between? I’ve seen opinions all along the spectrum, and the amazing thing is that you can convincingly argue any of them. Both sides have valid positions, and the beauty of it is that Naughty Dog didn’t tip their hand either way as to what they consider the “correct” interpretation. They left it completely open to each individual player.

Most mainstream media doesn’t do that. Many writers spoonfeed what they want the audience to take away from the story. These characters are good; these ones are bad. These actions/beliefs are the right ones; these over here are the wrong ones. If you like or endorse this particular opinion, you’re right and good; if you endorse that one, you’re bad and wrong.

In some ways, we as human beings crave this black-and-white storytelling. We want our own feelings and opinions to be validated by the media we consume; it’s just human nature. We want to be told we’re good and right for this value or belief that we hold, or this choice that we would make if we were in the characters’ shoes.

But at the end of TLOU, Naughty Dog didn’t do that. When I finished the game for the first time, I felt deeply unsettled. There was no tidy resolution, no absolution, no assurance that the choices made were the right ones and that things would be okay. That’s not to say it was an unsatisfying ending--I would actually venture to say it was a pretty perfect ending for the story that was being told. It wasn’t comfortable, but it was right.

(Important side note: that’s not to say that stories with comfortable, happy endings are somehow inferior or not worthwhile. I love and cherish stories that make me feel good, and I think they’re just as necessary as stories with uncomfortable, ambiguous endings. This particular story just happens to be one of the latter.)

So why is it such a big deal that Naughty Dog let players form their own interpretations and opinions of the first game’s characters and story? For some people, it may not be. We all want different things from our stories, and that’s fine. But for me, it’s significant because if there’s one thing that immediately, viscerally pulls me out of a narrative, it’s the sensation that the writer is trying to manipulate me. I crave nuance in stories. I want protagonists with flaws and antagonists with complex, understandable, even relatable motivations. Themes and messages in stories are fine--encouraged, even--but not at the expense of character and story. As soon as I get the sense that the author is trying to beat me over the head with an opinion (even if it’s an opinion I agree with), I start to check out.

Don’t dictate to me what you think I should feel. Show me the characters and their motivations and choices, and let me decide what I feel. And definitely don’t pull cheap stunts like doing awful things to the characters for pure shock value or just to make the audience wallow in anger and misery.

That’s the thing about the TLOU 2 spoilers. Instead of continuing on with the organic, complicated, nuanced story of the first game, it feels like Naughty Dog picked a side. It feels like they’re trying to tell a portion of their audience, “No, what you feel about these characters and situations is wrong. THIS is the right thing to feel.” It feels like they threw a bucket of water on the shades of gray in the first game in favor of making things black and white in the second. Maybe to an extent, that’s inevitable for a sequel. But it feels like Naughty Dog didn’t even try to avoid it. They could have taken the sequel in any direction they wanted, but they picked the one most likely to cause dissent and anger and anguish among people who connected to the story and characters of the first game.

(Another side note: I’m not talking about the “dissent” of the vile neckbeard fanboys who are all over Twitter and YouTube spewing their homophobia/transphobia/misogyny. Their opinions aren’t worth a second of anyone’s time. I’m talking solely about story and character issues.)

I knew TLOU 2 would be a story with dark, painful, even disturbing elements just like the first game was. But what I hoped for was a story that would allow Joel and Ellie to continue to grow through the darkness and come out stronger, both as individuals and in their surrogate father/daughter relationship. My fear was that Naughty Dog would take the lazy, easy route of provoking a reaction from the audience by using our attachment to the characters as a weapon against us. And unfortunately it appears that’s exactly what they’ve done.

Of course, they’re well within their rights to tell this story. They own the IP and they can do whatever they want with it. There’s all sorts of stuff that could be debated about relationships between creators and consumers, whether one party “owes” the other anything, or issues about the balancing act between telling the story you want to tell, and telling one that other people will pay you for. All of that is beyond the scope of this already ridiculously long post. But I do think it’s worth asking why they wanted to tell this particular story, and why they wanted to tell it this way. Neil Druckmann has talked about how the themes of TLOU 2 will center around hate and the cyclical nature of vengeance, etc. And I mean.......that’s not exactly super groundbreaking stuff. Is it necessary to go as over-the-top as possible to tell a story with a pretty basic message? It feels like there’s something more at play here.

Anyway.

Am I jumping the gun? Maybe. In the aftermath of the leaks, Naughty Dog is insisting that we don’t know the whole story, yadda yadda. I’m sure there’s some truth to that. Context is important. Still, the leaks weren’t just vague hints of what might happen, like spoilers so often are. These were actual video clips taken directly from the game. And it would take a looooot of context to make me okay with what I saw in the clips. Enough that I’m definitely not buying the game the day it comes out, like I originally planned to. I’ll probably watch an LP and then decide whether or not to play the game myself.

If there’s a silver lining to all this, it’s that these issues are helping solidify what I want to accomplish in my own stories that I hope will be published one day:

Subtlety is key.

Don’t let the theme of your story overpower the characters.

Make your characters and situations as nuanced as possible.

Write what you want, but don’t toy with your audience. They aren’t playthings for your amusement.

Except for horrible bigoted entitled dudebros, because screw them.

#the last of us #on writing #the last of us spoilers tag #tlou spoilers tag #the last of us 2 spoilers tag #tlou 2 spoilers tag #i don't really know what i'm trying to accomplish with this post #i just have a lot of thoughts about storytelling and need to dump them somewhere

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hiddenleafstoryteller · 4 years

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Which characters in Naruto are the most jealous in a relationship? I would like to hear your thoughts 😊

Ahh yes some analysis 😎 My obsession with astrology and basic profiling shall shine through😅

Thanks for the request anon🥰 I spent hours on this and hope y’all enjoy!!

Most Jelaous

Kiba

Kiba is territorial and when anyone so happens as to get to close to what he views as his, jealously is bound to flow. He’s a Cancer, emotions are something he has a lot of and he sometimes doesn’t know how to process them in a healthy way, therefore come the jealous outbursts. He once tried to fight Naruto because Naruto complimented your haircut.

Kiba is the poster boy for, “I trust you, but it’s them I don’t trust.” & if you’re out in public he will always be touching you, holding hands, an arm around your shoulders or waist. He’s proud of you and wants everyone to see how amazing you are, but hands off

Neji

Neji is interesting to think about in terms of jealously. Some of you may read this and go, “Neji?? Number 2 on the jealously list? You’ve lost your damn mind Storyteller!” And while you are correct, let me explain.

Homeboy is a C A N C E R, you can’t tell me that Edgy Neji™️ doesn’t FEEL. Neji l encounters jealousy, however, is skilled at hiding it. He gets jealous so easily but he doesn’t regularly tell others when he’s starting to get jealous, but if he does happen to open up to you about it, you’re in for a show.

He would be the type of boyfriend that would only say something if he thought you were uncomfortable or if the person was being to aggressive in their flirting.

Sasuke

Sasuke is a fickle lil’ Leo who is also good at hiding his jealously BUT something that turns his jealousy switch is the point at which their s/o focuses on someone or something different more than them. Sasuke’s Jealousy is usually based in feeling inferior to someone (you’ve heard of daddy issues? He’s got big bro issues), and if he feels that his S/O regards someone on a higher level than they do with him? Oof it pushes his buttons!

Naruto

Our favorite Libra (besides myself, of course) is honestly so used to things leaving (ugh sad reacts only) that the idea of someone trying to steal his S/O makes him rage!

The good news is that he will always trust his S/O wholeheartedly, he gives them space but he is not afraid to insert him into a conversation between them and whoever is trying to get to them!

He’d be type to kiss you in front of everyone just to get his competition riled up, and sometimes can get TMI with his talks about you just to provoke a reaction from whoever was trying to flirt with you.

Lee

At first, I didn’t think Lee would rank this high but upon further inspection I think spot number 5 is a good spot for bushy brows himself. Lee is very familiar with the feeling of jealousy & envy, they are two of his main motivations in his becoming of the best shinobi he can be.

If he feels that his relationship is being threatened by an outside party, he’ll use it as motivation to work harder in the relationship. The outside party is now his rival and he wants to come out on top.

Sakura

We all know Sakura can be pretty easy to become jealous. If she felt that her S/O was being pursued by someone else she would be more than a little miffed. She’s an Aries, she would honestly attempt to destroy anyone who tried to disturb her relationship.

Sakura will not sit there when feeling threatened, she will have a discussion with the person she’s jealous of, informing them their partner is taken. With the S/O, she will argue and say everything that bothers her.

Choji

Choji is the true neutral of this list, he experiences jealously but he also knows how to handle it in a mature way.

He doesn’t feel threatened by someone flirting with his S/O until the person goes over the line or he thinks his S/O might be enjoying it.

As an Taurus, I feel that Choji is incredibly level headed, he wouldn’t jump to conclusions but would form opinions based on evidence.

Ino

Ino is a BAMF and knows it. She practically floats above everything, she has the upmost confidence in her S/O and their relationship.

But

If the jealously switch is flipped, it is FLIPPED. She is a Libra after all, if the scales aren’t balanced she isn’t feeling it. Having someone consistently flirting with her S/O would really start to get to her

Hinata

This pure lil’ cinnamon roll tries her best to not become jealous, but sometimes something gets right under her skin.

She trusts her partner 110%, and would never accuse them of being disloyal.

She would, however, fully kick another persons ass who tried to overly pursue her S/O.

She is a Capricorn who get jealous when their S/O disrespects the sanctity of their partnership, even slightly. Her S/O flirting with someone would throw over the edge incredibly quickly.

Shikamaru

I don’t think Shikamaru really has the time or energy to develop a serious case of jealousy.

The thing with Shika is that he is incredibly doubtful. He questions everyone’s intentions, including his own. It doesn’t matter how positive and sure things are in the relationship, Shikamaru will panic when they will start to overthink.

Shino

Literally doesn’t have a jealous bone (bug?) in his body, and is often unbothered by other people’s advances towards you. He knows that you love him and he loves you, and that is enough for him.

However, if he does start to feel that someone is pushing their boundaries he would be straight up with you and not beat around the bush.

Tenten

My baby Tenten is the least bothered and it takes a hell of a lot to get her bothered

If she does end up noticing somthing she doesn’t like, she’ll mull it over until she’s alone with her S/O and give them an earful

Least Jealous

#naruto headcannons #shikamaru #ino #choji #kiba #hinata #naruto #sasuke #shino #neji #lee #tenten #sakura #konoha 12

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oosteven-universe · 4 years

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Lost Soldier #001

Lost Soldiers #001 Image Comics 2020 Written by Aleš Kot Illustrated by Luca Casalanguida Coloured by Heather Marie Lawrence Moore Lettered by Aditya Bidikar Vietnam, 1969. Juarez, forty years later. Three men tied by the war they left behind-on collision course with a new one. This is why I am such a fan of Aleš and his writing. He has a beautiful mind and his writing is as cerebral as is it just plain interesting and fun. I like the way this book is being told and to see the past and then the present and how they are going to be intertwined and integral to each other throughout the series is solidly rendered here. I am also a fan of being introduced to characters and getting a feel for them even if they aren’t going to be in the main focus of the story. There are a few surprises along the way and the fact that I cannot take anything face value here is something that I appreciate more than you’ll ever know. The story & plot development we see through how the sequence of events unfold as well as how the reader learns information is perfectly laid out for the reader. I am admiring the way the story is being layered as well and how we see different elements to what these guys went through while they were there. The character development is interesting to see how the characters come to life. War is hell and it changes you so to see these different stages in the lives of these men and how the situations and circumstances shape who they will become. The pacing is superb and as it takes us through these pages revealing the twists and turns along the way we see how everything works together to create the story’s ebb & flow. I am enjoying this a whole heck of a lot more than I was expecting to and that is something that’s pretty darn amazing. I mean this is so much better than I was expecting and Aleš is such a strong, amazing and thoughtful guy when it comes to writing his stories and this is pretty powerful right off the bat. There are some extremely intriguing and thought provoking moments in this that took me by surprise and left a strong impression with me. The interiors here are really good. I like the linework that we see and how the varying weights are being utilised to show off the detail work is really some damn good work. There is a stylised look and feel to the book that really works well with the subject matter. It also adds the right ambiance so that we get the emotional boost from the art that is surprisingly strong. I like how we see backgrounds being utilised throughout to bring us this depth perception, sense of scale and the overall sense of size and scope to the book is really well done. The utilisation of the page layouts and how we see the angles and perspective in the panels show a remarkable eye for storytelling. The colour work is extremely well rendered in my opinion. How we see these muted tones as reflective of the story is phenomenal. How we see the hues and tones within the colours utilised to create the shading, highlights and shadow work is beautifully done. This isn’t your standard fare. What it is however, is something unique, interesting and full of thoughtful storytelling with layers and dimension to it. This is engaging and there is a way that each individual will connect with this that will be theirs alone.

#Comic Books #Comics Reviews #Image Comics #Ales Kot

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writing-prompts-for-friends · 4 years

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Notes on Robert McKee’s “Story” 22: How to Create a Riveting Plot

There are five parts of any story:

The Inciting Incident

Progressive Complications

Crisis

Climax

Resolution

I covered McKee's advice regarding the Inciting Incident in my previous post, and today I'll be focusing on the next part: Progressive Complications.

This section relies on your understanding of the concept of "The Gap," which I covered in this post. I highly recommend you take a look at it.

This is the arc of events that starts with the Inciting Incident and brings us to the Crisis/Climax of the final act.

To "complicate progressively" means "to generate more and more conflict as they face greater and greater forces of antagonism, creating a succession of events that passes points of no return."

Points of No Return

When the Inciting Incident happens, the protagonist starts on a quest for a conscious or unconscious Object of Desire to restore life's balance. At first, he takes a minimum, conservative action to provoke a positive response from his reality. But the effect of his action is to arouse forces of antagonism from inner, personal, or social/environmental Levels of Conflict that block his desire, cracking open the Gap between expectation and result.

When the Gap opens, the audience realizes that this is a point of no return. Minimal efforts won't work. Henceforth, all actions like the character's first effort, actions of minor quality and magnitude, must be eliminated from the story.

Just imagine your standard superhero comic/film or action anime and you'll quickly see what McKee is saying. Let's use Captain America because I'm feeling patriotic. He starts off fighting small fries, right? Slowly proving his strength and his capability. He goes up in rank, taking on more dangerous missions at the risk of losing his life and the lives of his comrades, and the fights escalate one after another until he is finally against his nemesis Red Skull.

If Captain America went from defeating an entire warehouse full of Nazis and then suddenly had to do the same thing again, with no added risk or challenge, what would be the point of it? What new risk is there? What progression in the character is there? It'd just be the same situation with different faces.

This is also why we see so many cool action anime series peter out after the end of their great big boss battle. We watch the characters progress, fighting progressively stronger battles, with progressively greater risk, and then they finally manage to defeat their arch-nemesis. The audience feels that the protagonist has gone on a journey and it has come to a well-deserved end. But then the manga publishers or whoever look at the dollar signs and say, "Well you can't stop now! Come up with another bad guy!" And we are forced to watch this character somehow start from scratch again, and more often than not, it feels artificial.

"A story must not retreat to actions of lesser quality or magnitude, but move progressively forward to a final action beyond which the audience cannot imagine another."

"How many times have you had this experience? A film begins well, hooking you into the lives of the characters. It builds with strong interest over the first half-hour to a major turning point. But then forty or fifty minutes into the film, it starts to drag. Your eyes wander from the screen; you glance at your watch; you wish you'd bought more popcorn; you start paying attention to the anatomy of the person you came with. Perhaps the film gains pace again and finishes well, but for twenty or thirty flabby minutes in the middle you lost interest.

If you look closely at the soft bellies that hang out over the belt of so many films, you'll discover that this is where the writer's insight and imagination went limp. He couldn't build progressions, so in effect he put the story in retrograde. In Act Two he's given his characters lesser actions of the kind they've already done in Act One--not identical actions but actions of a similar size or kind: minimal, conservative, and by now trivial. The writer is recycling a story and we're treading water.

The only way to keep a work's current flowing and rising is research--imagination, memory, facts.”

The Law of Conflict

☝ I tell you what, most live-action adaptions of manga/anime really suck, but the live action Rurouni Kenshin movies are better than the anime. Seriously, the fight scenes were AMAZING. 10/10.

This is a rule that many of us were taught in high school lit classes, but allow me to restate it:

Nothing moves forward in a story except through conflict.

“Put another way, conflict is to storytelling what sound is to music. Both story and music are temporal arts, and the single most difficult task of the temporal artist is to hook our interest, hold our uninterrupted concentration, then carry us through time without an awareness of the passage of time.

As long as conflict engages our thoughts and emotions we travel through the hours unaware of the voyage. ... The pictorial interest of eye-pleasing photography or the aural pleasures of a beautiful score may hold us briefly, but if conflict is kept on hold for too long, our eyes leave the screen. And when our eyes leave the screen they take thought and emotion with them.”

McKee stresses that the Law of Conflict does not apply only to literature; it applies to our own lives.

“Story is a metaphor for life, and to be alive is to be in seemingly perpetual conflict.

We live in time’s ever-shrinking shadow, and if we are to achieve anything in our brief being that lets us die without feeling we’ve wasted our time, we will have to go into heady conflict with the forces of scarcity that deny our desires.

Writers who cannot grasp the truth of our transitory existence, who believe that life is easy once you know how to play the game, give conflict a false inflection. Their scripts fail for one of two reasons: either a glut of meaningless and absurdly violent conflict, or a vacancy of meaningful and honestly expressed conflict.

The former are exercises in turbo special effects, written by those who follow textbook imperatives to create conflict, but, because they’re disinterested in or insensitive to the honest struggles of life, devise phony, overwrought excuses for mayhem.

The later are tedious portraits written in reaction against a conflict itself. These writers take the view that life would be really nice...if it weren’t for conflict. Therefore, their films avoid it in favor of low-key depictions to suggest that if we learned to communicate a little better, be a little more charitable, respect the environment, humanity could return to paradise.

Writers at these extremes fail to realize that while the quality of conflict changes as it shifts from level to level, the quantity of conflict in life is constant. Something is always lacking. Like squeezing a balloon, the volume of conflict never changes, it just bulges in another direction. When we remove conflict from one level of life, it amplifies ten times over on another level.

Life isn’t about subtle adjustments to stress, or hyperconflicts of master criminals with stole nuclear devices holding cities for ransom. Life is about the ultimate questions of finding love and self-worth, of bringing serenity to inner chaos, of the titanic social inequities everywhere around us, of time running out. Life is conflict. That is its nature. The writer must decide where and how to orchestrate this struggle.”

Complication Versus Complexity

At the surface level, both “complication” and “complexity” appear similar in meaning. But in the context of writing, they are two different technical terms, defined thus:

Complication: Refers to which of the three levels of conflict (inner, personal, or extra-personal) that are in the story.

A work that has complication has only one of the three levels of conflict. One that is Inner Conflict only would be a stream of consciousness work, free-form. A work with only personal conflict is a soap opera. And a work with only extra-personal conflict would be action/adventure, like James Bond.

Complexity: Refers to when all three levels of conflict are present in a work, often simultaneously.

Most of the stories we have read and movies we have watched have had complexity. Increasingly, we demand complexity of our characters. We want each character to be three-dimensional, with their own inner and personal conflicts, on top of extra-personal ones if applicable.

However, “complexity” doesn’t necessitate a cast of hundreds or scenes that span continents, per se. McKee gives us this advice when setting out to create a complex story:

“Design relatively simple but complex stories. ‘Relatively simple’ doesn’t mean simplistic. It means beautifully turned and told stories restrained by these two principles: Do not proliferate characters; do not multiply locations. Rather than hopscotching through time, space, and people, discipline yourself to a reasonably contained cast and world, while you concentrate on creating a rich complexity.”

Source: McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting. York: Methuen, 1998. Print

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mildlydiscontent · 5 years

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ok so I watched gully boy yesterday and I have so many thoughts:

i absolutely loved the movie, gully boy is an absolute master stroke from zoya akhtar and is easily her best film to date with such great writing, amazing performances and brilliant and powerful storytelling. I was in total awe while watching the film. literal chills.

this movie is revolutionary in many ways as it is the first film to show the rising hip hop culture in india. as in many of zoya akhtar’s previous films she highlights issues of class division, patriarchy, sexism and feminism in subtle and nuanced ways throughout the film. it is so refreshing to see a progressive take on people living in the slums and akhtar captures the dharavi slums and mumbai in such a realistic manner.

zoya akhtar’s vision as a filmmaker really shines here, as mumbai itself can be viewed as a character in the film. her choice of film shots and cinematography work so well in the movie, clearly highlighting the class division. the dialogue is brilliant, and the movie so perfectly speaks the language of mumbai youth. the dialogue in the movie is poetic and thought-provoking, particularly those spoken by murad.

ranveer singh is so brilliant as the sweet, shy murad, playing the character with such nuance he truly gives his heart and soul into this performance. he conveys the vast range of emotions from pain, angst, to elation so convincingly and emotes through his eyes so well. his best performance to date imo. ranveer’s talent and range has an actor has no limit. not be biased because i am a huge ranveer fan but he is the GOAT in the making and this movie just proves that yet again.

i absolutely loved alia she explodes on screen as safeena and she does incredibly well in this role, equal parts funny, quirky, crazy and sweet as a muslim girl trying to break free of the societal barriers placed on her, fighting her own struggles throughout the movie (and she has such natural chemistry with ranveer!!) also siddhant chaturvedi is so fantastic as mc sher with some of the most impactful scenes in the movie. his character is so well written and well acted, his relationship with ranveer’s character in the movie became one of my favourite things about the film.

the entire cast shines in this movie as zoya akhtar places importance on telling the stories of each of these characters, not solely murad and this is what makes the movie even more special.

the message underlying the film- to keep hoping and dreaming makes the movie such an uplifting and powerful experience and it truly made me believe apna time aayega.

please watch gully boy! this movie is a hindi film for the ages. hats off to the entire team for giving us this gem.

#gully boy #ranveer singh #alia bhatt #zoya akhtar #bollywood2 #bollywood film #hindi cinema #gully boy review

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archiveforwriting · 4 years

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550 Alternative Words for 'Said'

[source]

Is it your dream, your fantasy to write a bestseller? Do you have a book in your head, but the word "said" keeps getting in the way? If we write, then somewhere along the line we'll run into the word "said," one of the most common dialogue tags. But what is a dialogue tag, you ask?

What Is a Dialogue Tag?

In writing, a dialogue tag is a group of words that follow a line of speech. They provide information about the words between the beginning and end quotation marks such as

Who is speaking (i.e. he, she, they, Danny, Lucy)

Volume (i.e. shouted, yelled, whispered)

Tone (i.e. moaned, babbled, howled)

By using dialogue tags, writers are able to explain to readers the way in which their characters are speaking and the emotions that should be inferred from the inflection of their words.

Other Words for "Said" by Emotion

Repeating "he said, she said," can get annoying, but is it smart to use a different verb? There are abundant words to use instead, yet purists believe you're probably best not using them, since readers pay such little attention to "said" it effectively becomes invisible.

A good practice to follow is that when it’s understandable who is speaking the line of dialogue, you can remove the verb completely. It's surprising how much more professional your work will look if you do. In fact, let's make a rule: if it's obvious who's speaking, don't use anything.

You should only substitute "said" if the line of dialogue needs accentuation or verbalization to convey the way the words are expressed. Gorging your story with alternative words for "said" makes your work look amateurish, so be sure to se alternatives with moderation.

But sometimes you need to indicate who's speaking, and sometimes the word "said" doesn't quite do the job. That being said, if you’re struggling to find that elusive and perfect substitute, here’s a list of words (categorized by emotion) that might help.

Acceptance

Accepted, acknowledged, admitted, affirmed, agreed, assumed, conferred, confessed, confirmed, justified, settled, understood, undertook, verified.

Anger

Accused, barked, bellowed, bossed, carped, censured, condemned, criticized, demanded, fumed, gawped, glowered, growled, grumbled, hissed ordered, raged, remonstrated, reprimanded, retorted, scoffed, scolded, seethed, snapped, snarled, ticked off, told off, upbraided.

Contemplation

Contemplated, mused, pondered.

Conviction

Addressed, advertised, articulated, bragged, commanded, confided, decided, dictated, ended, exacted, finished, informed, made known, maintained, necessitated, pointed out, promised, reassured, remarked, repeated, reported, specified, stated, told.

Desire

Attracted, requested, wanted.

Excitement

Babbled, beamed, blurted, broadcasted, burst, cheered, chortled, chuckled, cried out, crooned, crowed, declared, emitted, exclaimed, giggled, hollered, howled, interjected, jabbered, laughed, praised, preached, presented, proclaimed, professed, promulgated, quaked, ranted, rejoiced, roared, screamed, shouted, shrieked, swore, thundered, trilled, trumpeted, vociferated, wailed, yawped, yelled, yelped, yowled.

Fear

Cautioned, shuddered, trembled, warned.

Generosity

Comforted, consoled, empathized, invited, offered, proffered, released, volunteered.

Persuasion

Advised, alleged, appealed, asserted, assured, avered, avowed, beckoned, begged, beseeched, cajoled, claimed, conceded, concluded, concurred, contended, defended, disposed, encouraged, entreated, held, hinted, implied, implored, importuned, inclined, indicated, insisted, pleaded, postulated, premised, presupposed, protested, stressed, suggested, touted, urged, vouched for, wheedled.

Pride

Chimed in, circulated, disseminated, distributed, expressed, grinned, made public, passed on, publicized, published, put forth, put out, quipped, quizzed, quoted, reckoned that, required, requisitioned, taunted, teased.

Provocation

Exposed, imitated, joked, leered, lied, mimicked, mocked, provoked.

Sadness

Agonized, bawled, blubbered, grieved, groaned, lamented, mewled, mourned, puled, sobbed, wept.

Storytelling

Announced, answered, began, called, commented, continued, denoted, disclosed, divulged, explained, imparted, noted, observed, proposed, rejoined, replied, revealed, shared, solicited, sought, testified, transferred, transmitted, went on.

Uncertainty

Asked, doubted, faltered, fretted, guessed, hesitated, hypothesized, inquired, lilted, quavered, queried, questioned, shrugged, speculated, stammered, stuttered, supposed, trailed off, wondered.

Words That Indicate Sound

Breathed, choked, croaked, drawled, echoed, grunted, keened, moaned, mumbled, murmured, panted, sang, sniffled, sniveled, snorted, spluttered, squeaked, uttered, voiced, whimpered, whined, whispered.

Other Words for "Asked"

When writing an inquisitive character, sometimes the standard "asked" can become a bit stale. Try using these alternatives when you want to add some variety to your dialogue.

Appealed Begged Beseeched

Contended Entreated Inclined

Insisted Pleaded Probed

Prodded Protested Cajoled

Stressed Doubted Faltered

Guessed Hesitated Hypothesized

Inquired Lilted Quavered

Queried Questioned Wondered

Other Words for "Stated"

Instead of repeatedly using stated to express the way in which a character delivers their words, try using one of these more descriptive alternatives.

Asserted Concluded Explained Noted

Remarked Reported Specified Told

Adverbs and Phrases to Explain How Something Was Said

Okay, so despite the warning, you’ve decided you really need to use one of the words above for "said." In order to make your writing absolutely zing, you might want to go whole hog and add an adverb or a phrase to convey or emphasize exactly how the line of dialogue was said.

An adverb is a word ending in -ly and modifies a verb.

The way it works is you choose whichever word for "said" you fancy from the list above, then add a adverb or phrase after it from the list below. For example, "She promised, with a controlled smile," or "He remarked, with a gloomy sigh." But do not overdo it. Be very careful not to end up sounding amateurish.

List of Adverbs for Dialogue

Abruptly, Absently, Acidly, Angrily, Apologetically, Approvingly, Artfully

Bemusedly

Calmly, Caustically, Cheerfully, Complacently, Crossly

Depressingly, Dryly

Earnestly, Enthusiastically

Gently, Gruffly

Happily, Hotly

Impatiently, Indulgently, Informed sassily, Innocently, Inquired doubtfully, Irritably

Loftily, Loudly

Mentally shrugged

Naturally, Nodded agreeably, Not wanting to sound pushy, Noncommittally

Offhandedly, Optimistically

Pleasantly, Politely, Politely smooth, Promised in a motherly/fatherly way, Prompted gently Promptly,

Quietly

Reflectively, Roughly

Sadly, Sympathetically, Sarcastically, Sincerely, Smiled faintly, Smugly, Soberly, Softly, Sparingly, Sternly,

Tartly, Tautly, Teased softly, Tightly, Truthfully, Thoughtfully,

Uncertainly, Unexpectedly, Urgently

Vaguely

Went on loyally, Wilfully misunderstood, Without sounding unduly curious, Wryly

Xenophobically

Yearningly

Zealously

List of Phrases for Dialogue

"She said in a..."

Casual tone, chiding tone, courteous manner, curious tone, dry tone, flirtatious way, level tone, level way, perpetually tired voice, rasping tone, small panicky voice, soothing tone, voice soft with affection.

"She said with a..."

Controlled smile, fond look, gloomy sigh, note of relief, sad grimace, sad smile, sense of guilt, sigh of irritation, burgeoning excitement.

"She said with..."

Conviction, determination, fire, firm persistence, gentle remonstrance, graceful simplicity, mock astonishment, pleasure, quiet empathy, simple directness.

Other Phrases to Modify "Said"

After a moment's reflection

False cheerfulness

Friendly fashion

In quiet amazement

Made the effort to sound reassuring

Meaning the words more seriously than they sounded

Sounded slightly brittle

Stephen King on Adverbs for Dialogue Attribution

Below is Stephen King's take on the use of adverbs. His advice is to use adverbs very conservatively in order to keep the integrity of your writing intact.

"Someone out there is now accusing me of being tiresome and anal-retentive. I deny it. I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they’re like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day . . . fifty the day after that . . . and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it’s — GASP!! — too late.

I can be a good sport about adverbs, though. Yes I can. With one exception: dialogue attribution. I insist that you use the adverb in dialogue attribution only in the rarest and most special of occasions ... and not even then, if you can avoid it. Just to make sure we all know what we’re talking about, examine these three sentences:

‘Put it down!’ she shouted. ‘Give it back,’ he pleaded, ‘it’s mine.’ ‘Don’t be such a fool, Jekyll,’ Utterson said.

In these sentences, shouted, pleaded, and said are verbs of dialogue attribution. Now look at these dubious revisions:

‘Put it down! she shouted menacingly. ‘Give it back,’ he pleaded abjectly, ‘it’s mine.’ ‘Don’t be such a fool, Jekyll,’ Utterson said contemptuously.

The three latter sentences are all weaker than the three former ones, and most readers will see why immediately."

— Stephen King, On Writing: A Memoir on the Craft

How to Show Emotion Through Actions Instead of Adverbs

Since the use of adverbs can often make a writer look amateurish, many choose to use actions instead of adverbs to express emotion. Take, for example, the scenario below, in which a man is feeling frustrated and angry upon learning that his girlfriend has been unfaithful. In the first example, adverbs are used. In the second, actions.

"Where were you all night?" he asked.

"I was with someone else," she mumbled nervously.

"Someone else?" he boomed violently. "Someone else?"

"Where were you all night?" he asked.

"I was with someone else," she replied with her eyes downcast. She was fiddling with her fingernails.

"Someone else?" he said, slamming the table with his fist. "Someone else?"

It's easy to see that in most exchanges of dialogue, less is more. Let your reader imagine the actions the characters are making and infer the emotions those actions suggest, rather than telling them the emotion outright.

#words #dialogue

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