Sunday Dinner: Melissa (2312 words) by Tassos
Fandom: Teen Wolf (TV)
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Sheriff Stilinski, Melissa McCall
Additional Tags: Werewolf Sheriff Stilinski, Dinner, Friendship, Male-Female Friendship, Conversations, Alternate Universe - Canon Divergence
Series: Part 6 of Lycanthropic Optics: Werewolf!Sheriff AU
John bumps into Melissa at the hospital. They have a long overdue chat.
Let's back up. I've basically been writing a little over 5k words a month this year, with some variation, and definitely not in two days. And it wasn't even hard! What is that even? Writing? Not a painful exercise? (Sidenote: on top of that writing at work has been pretty good this week too...)
So, yeah, writing is suddenly fun again. Also, witness me be incredibly uncomfortable writing my own kinks. I mean, lbr, this is an idfic romance at the moment (though with my usual over thinking of how to make the situation work). It's also basically the first part of 7 Brides for 7 Brothers, which makes me feel a little weird 'cause I don't actually like the movie, but, man, I sure as hell love Avvar!AUs, and forced closeness, and bedsharing, and a marriage of convenience, and ALL THE SILLY TROPES. I just prefer reading them to writing them. So I'm trying something new here. It'll help me grow as a person.
Anyway, I'm already worried about finishing it. This is the same feeling I've gotten starting the other three novel length fics that are about half done at ~60k. I'm hoping this one won't be that long. And that I finish it. Wish me luck.
Emily Hare is a freelance illustrator based in the UK who has a wonderful knack for creating beasties and creatures.
These have a nicely strange charm, or a charming strangeness, or, well.. you get the idea.
Though she used to work digitally, she is now working in traditional media, primarily watercolor.
[Via Eric Orchard]
Falling Leaves, Olga Wisinger-Florian
Link is to the image on Wikimedia Commons. I don’t know the status of the original; it was sold at auction in 2014, so it may be in a private collection.
Turn of the century Austrian painter Olga Wisinger-Florian give us a wonderful example of how to handle a complex, colorful and highly textural scene with deft use of hue and value relationships.
For more, see my post on Olga Wisinger-Florian.
Happy Autumnal Equinox!
Falling Leaves, Wikimedia Commons
Tomorrow, Saturday, September 23, 2017 is “Museum Day” here in the U.S.
Organized by Smithsonian magazine, participating “Museum Day Live” institutions offer a free pair of admission tickets for the day.
You just need to order your tickets in advance (today), print them out and take them with you. Hundreds of museums are participating, but you must choose just one, and you are limited to one pair of tickets.
Search for a museum on this page.
You can search by name or by location. I found the Zip code search less than useful, because it doesn’t search a radius. The state lookup is more helpful (though it doesn’t cross state lines). Drill down by location on the map.
Once on your chosen museum page, click “Get Tickets” and enter your name and email to receive tickets by email.
This is all kinds of museums, art and others, and the event should not be confused with “Art Museum Day”, which takes place in the spring.
Anyway! Episode 54 of Wolf 359, was, as promised, A Lot, and I wrote a ridiculously ott-angsty missing scene on the bus because MINKOWSKI AAAAAAAAGH!
Under Control, 500 words. SPOILERS. On the Hephaestus, everything is completely fine.
(I think I'm going to stop posting fic on DW again because I don't think anyone reads it here. Straight to AO3 seems to be the way to go these days.)
Then I realised that it fills the "slaves" square for my hc_bingo card, and therefore I have completed a bingo line! The first time ever I have done so in the actual challenge period rather than scraping in under amnesty.
I will be back before too long with a new bingo card!
ETA: Loooook I got a shiny (and very thematically apt) graphic! :DDDD
Herbstlicht hängt in der Luft, heute morgen im Körnerpark…
5.9 x 5.9 inch / Oil on MDF board / 15cm x 15cm / Öl auf MDF Bord
If you would like to purchase this daily painting, please send your bid by email. Startprice 150 Euro. End of sale September 23rd 2017 at 6.00 pm (local time Berlin Germany). Terms of Sale and Right of Withdrawal.
Wenn Sie dieses Tagesbild erwerben möchten, senden Sie bitte Ihr Gebot per email . Mindestpreis 150 Euro. Ende des Verkaufs gegen Höchstgebot am 23. September 2017 um 18 Uhr. Beachten Sie bitte die Informationen zu den Verkaufsbedingungen sowie die Widerrufsbelehrung.
© Edward B. Gordon, all rights reserved.
I hadn't been to the Empire State Building since I was a kid, and angelgazing was like, "Why even live in NYC if you don't go to the attractions?" and I was like, "I've never even been to the Statue of Liberty." *hands* Generally speaking, the thought of masses of tourists repels more than the attractions attract. Unless someone from out of town wants to go, I generally don't do those kinds of things, though they are always fun when I do.
Anyway. The Good Place had its season 2 premiere Wednesday night, but it started at 10 pm and when I saw that I was like, "oh hell no!" I am not cut out for 10 pm shows anymore. So I set the DVR and watched it last night.
Spoilers from here on out! Please don't read if you haven't watched. It's a show that works best unspoiled the first time around! ( spoilers for all of s1 and the s2 premiere )
rachelmanija has a much more thoughtful post here.
For starters, there's the difference in focus: Erich Kästner and Little Tuesday is, as far as Hans is concerned, a coming of age story - he goes from child to teenager and young man in the course of the story - and has Erich Kästner as the other lead, whose perspective through the movie is even the slightly favored one. Frederick the Great Detective, by contrast, has Kästner only as a supporting character, aside from a prologue and an epilogue ends in late 1933/early 1934, and is above all a homage to Kästner's novel in structure, focusing on Friedrich and his same-age friends, who play detectives until it gets lethally dangerous. (The adults, whether benevolent or malignant or in between, are seen from the outside, the point of view is Friedrich's throughout.) For, befitting the author of the Gunther mysteries, there are actually cases to solve. (Though as opposed to Bernie, young Friedrich - who wants to become a detective through much of the novel - gets the point that you can't be a detective in a system where the criminals have taken over when Kästner desperately tells him just this.)
Indeed, while reading I wondered whether the basic idea for the novel might not have been a wish to write a sequel to Emil which tackles how Emil & Co. would act when the Third Reich starts, because Friedrich's gang with its twins has some similarities. Then again, Friedrich has a distinctly different background to Emil (or Hans Löhr) - no working class single parent mother, instead, middle class parents with his father a journalist and friend of Kästner's, which is the original connection, which allows Kerr to depict the way the press lost its freedom within a year. It also allows Kerr to let Friedrich and his parents vacation on Rügen where Friedrich meets Christopher Isherwood and Isherwood's boyfriend Heinz on the beach. (Leading to a charming scene where Friedrich manages to solve his very first case by finding Isherwood's lost watch.) Kerr provides quite a lot of real life characters making cameos throughout the novel - Billy Wilder (during the premiere of the "Emil and the Detectives" movie version which he scripted), Max Liebermann, Dietrich Bonhoeffer, Walter Trier etc. - but the Isherwood cameo was for me the most vivid of these. (And I'm not surprised, having come across an interview where Kerr says bascially Berlin for him as a reader, before he got there, was invented by two British writers, Christopher Isherwood and John Le Carré.)
Kästner himself lis of course the real life character with the most page time, but he feels more like a generic version of Kästner's author persona than an actual attempt at depiction of the man. (As opposed to the Kästner in Erich Kästner and Little Tuesday.) Meaning: he's a benevolent adult the way, say, Justus the Teacher in "Das Fliegende Klassenzimmer" is, with no hint of any inner conflicts, and Kerr slims down the biographical and authorial data about him to "wrote Emil and the Detective, also works as a journalist"; in this book, there are no mentions of either Kästner's other books for children or his adult novel, Fabian (the one who got burned by the Nazis at the 1933 book burning), nor of his sharp political poetry (which in Germany he was and is almost as well known for as for his prose). (Hence ahistorically Emil ends up as the burned book, when in rl Emil and the Detectives was so popular that it got published, as the only one of Kästner's works, within Germany until 1936. Then it was for the axe as well.) The one biographical background fact about Kästner mentioned in conversation by Friedrich's father is in fact a wrong one, or rather, a wrong assumption, that Kästner's mother, like Emil's, raised her son alone. In rl, not only was Kästner's father around and in contact with his son, but he outlived Kästner's mother. There is, however, a reason why I didn't mind this particular wrong statement, which is: Kästner kept his father and his relationship with him very low key as long as his mother was still alive, while his relationship with his mother was intense and very public, so a colleague from work like Friedrich's father could be forgiven for assuming the guy was either dead or had left the family. ( If you've read Kästner's autobiographical writings, one of the most memorable childhood scenes which makes you cringe in sympathy is his parents' christmas competition about him, when his father, a craftsman, proudly presented presents he made with his own hand while his mother spent all her money on presents, and both parents would regard whichever present their son showed any favour to as proof whom he loved more or a rejection respectively. And thus it went on for as long as Kästner's mother lived.)
What the novel does really well, though, is presenting a group of children responding to their world changing radically, and Friedrich as a likeable child hero who ends up rejecting the demagogery, scapegoating and promise of glory that lures his older brother in because he sees how both people he knows and strangers are abused in its name. Again, in an homage to Kästner's novel which has a memorable dream sequence, Friedrich's ongoing crisis of conscience and wonder how to avoid becoming a Nazi himself climaxes in a surreal dream where the various things he has experienced come together. The lesson he draws from this is simple and profound at the same time, very Kästnerian and indeed great advice in current day circumstances as well, to the question as ow to act: Be kind. Being kind and you can't become what you fear and hate. Be kind.
Mind you, the 1945 prologue and epilogue ( does spoilery things ) But all in all, Frederick the Great Detective is still a very readable children's novel set in a dark time which also manages to pay homage to a classic while being its own thing.
1. Please give us the one-sentence pitch of your story.
Manchess: On a future frozen Earth, an obsessed explorer goes missing on an expedition to a lost city under the ice, his only chance for rescue is a young inexperienced pilot…his son.
Baltazar: Timeless follows the adventure of a thirteen year old boy named Diego and his friends as they travel across the world fantastically changed by the fragmenting of time in order to rescue his father from a 2nd century Roman general and a scientist from the future who plot to reshape the world to their liking.
|Art by Greg Manchess from Above the Timberline|
2. How many illustrations will there be, and what is the balance between text and visuals?
|Armand Baltazar, preliminary and finished art from Timeless|
|Greg Manchess, sketch and finish from Timberline|
4. How much did you have completed before you sold the idea to the publisher?
|Armand Baltazar, from Timeless|
|Greg Manchess, from Above the Timberline|
|Armand Baltazar, from Timeless|
|Greg Manchess, from Above the Timberline|
|Layouts by Armand Baltazar, from Timeless|
10. What did you learn about your own productivity and time management, or your own psychological or physical limits?
|Armand Baltazar, from Timeless|
|Greg Manchess, from Above the Timberline|
|Armand Baltazar, from Timeless|
Greg Manchess documented the making of the first painting long before he envisioned the book.
14. How will you and your publisher be marketing and promoting the book? In an ideal world, if budgets and time were no obstacle, how would you want to see your book marketed?
Preorder on Amazon:
Releases October 10: Timeless: Diego and the Rangers of the Vastlantic by Armand Baltazar
Releases October 24: Above the Timberline by Greg Manchess
If you are interested in 'visual novels', you might want to check out:
Gnomes by Rien Poortvliet and Wil Huygen
Dutch Treat: The Artist's Life, Written and Painted by Himself by Rien Poortvliet
Faeries by Brian Froud and Alan Lee
Wyeth at Kuerners by Betsy Wyeth
Expedition by Wayne Barlowe
Dinotopia, A Land Apart from Time, Expanded edition by me
Dinotopia: Journey To Chandara, Expanded edition by me
The Katurran Odyssey by Terryl Whitlatch
Arthur Spiderwick's Field Guide by Tony DiTerlizzi
Tales from the Loop by Simon Stalenhag
A few years ago, I posted a piece on the varied landscape of my client base and how I shorthand what I do into “book covers and Magic cards” even if that's only a portion of the full scope. I thought I'd revisit this today and compare recent examples from six different avenues: Comics, Editorial, Gallery Work, Gaming, Private Commissions, and Publishing (book covers). Of course, these selections are anecdotal, but I tried to pick examples that I felt represent my experience overall
Turnaround: Typically about 3-4 weeks
Client relationship: I've been working with Dark Horse for about 5 years now, probably about 40-50 covers in that time for several different editors
Rights bought: Work for hire
Brief given: Though it varies by editor, Dark Horse tends to often just provide me a script and let me pitch ideas which leaves me plenty of creative freedom. I'll sometimes ask guidance on what story beats to lean on. This particular cover was a collected volume so I just had to give an overall sense of the tone that also touched on some kind of story specific imagery
Sketch notes: My initial take was two directions. One was a montage of our hero backed by flames, a lonely abandoned row home, and the indication of rats filling the dark sky. The second was at the suggestion of the editor to see our hero (in his Golem form) with a statue of an angle standing over him. The montage sketch recycled a pose from an unused sketch of an earlier issue and, in the end, the editor decided to just go back to that original unused sketch (just Joe and the rats, far right)
Final notes: I don't often get much in the way of final revisions with these, and that was the case here. Smooth approval, everyone is happy!
Turnaround: Typically 1-2 weeks (my most recent piece for them was three days, brief to final)
Client relationship: I've done about half a dozen jobs for Texas Monthly
Rights bought: 1st North American
Brief given: These paintings were to illustrate a non-fiction excerpt from a book about the first Spaniards to arrive in Texas. The AD sends over the story and usually some rough indication of what the tone or concept might be. The pace in editorial is so fast, there isn't usually much fussing over little details. I generally feel a lot of trust is given over to me to do my job without interference.
Sketch notes: because of the short turnarounds, I tend to still do editorial sketches in digital. I had a very clear idea for the main spread and that sailed through no problem. For the quarter spot, I wanted to see a shot of the Spaniards established further south (which ties in later in the story) but it was rejected because that part of the story did not take place in Texas. It was replaced with a scene of Karankawa finding some shipwrecked Spaniards. My first pass at this could have been wrongly interpreted to suggested there had been a battle between the two, but the second pass was approved.
Final notes: Again, with the fast pace of editorial, my experience is that clients don't tend to have many revisions. Texas Monthly does usually have a note or two and in this case it was just some simple color adjustments
Gallery Work (not a "commercial art genre", but it is essentially turning art into commerce)
Project: a piece for a two man show at Rehs Contemporary
Turnaround: I spent about a year preparing a few dozen pieces for this show, with the most intense focus being the final two to three months
Client relationship: I've been working with Rehs for four years
Rights bought: none
Brief given: none, though there is an understanding as to the general theme and scope of the show
Sketch notes: no sketches presented
Final notes: none
Additional notes: Working in a gallery is so different from commissioned work, I hesitated to include it. The reason that I did is because it is a facet of my career and income. And it's worth comparing as well. The one thing that particularly should be called out is that, along with all of this freedom, there is also no guarantee of compensation. I've taken part in several group shows with various galleries in recent years that produced no sales. With a long term gallery relationship, however, the gallery holds an inventory of your work and should be always actively promoting it to their buyers. Sales will, if all goes as it should, occur at openings as well as between shows. Several times, I've had gaps in my commission invoices covered by gallery sales on older work.
Project: Magic: the Gathering
Turnaround: six weeks
Client relationship: My oldest steady client. I'm just shy of my 10th anniversary working on Magic
Rights bought: Work for hire
Brief given: Artists are sent a style guide, which is a tome of artwork and notes used to help keep you on brand for the specific setting. The actual brief will describe in fairly detailed terms the scene to be painted as well as some notes on overall tone and focus. Card functions and in-game effects are rarely if ever given in the assignments.
Sketch notes: minimal, just a note on clarity of some details. This is typical for me: notes that don't require any revisions to the sketch, just to keep in mind for moving forward
Final notes: none, a clean approval. Again, this is usually my experience with MtG
Additional notes: As a traditional painter, it's also worth mention that there is a dedicated collector community for MtG art. The actual assignments don't pay as much as some other clients on this list, but the aftermarket makes up for it
Project: original piece for a private collector
Turnaround: usually pretty open ended, though I aim to keep things inside 3-4 months
Client relationship: This piece was for a collector who I had no prior relationship to. We did communicate quite a bit during the commission though
Rights bought: none
Brief given: The collector had originally wanted a piece that was already sold, which then opened the conversation to creating a new piece with a similar theme
Sketch notes: I first sent over rough thumbnails to close in on the concept, and then the full sketch once I felt confident we were on the same page. Some suggestions were made based on the sketch that helped guide us in to the final
Final notes: none, everyone is happy!
Additional notes: I think the most nerve wracking type of job for me is a private commission. When working with a normal client, you have to satisfy their needs of course, but it's business first and foremost. The AD might not even really like my work for all I know, they just know it's right for the product and that is the primary concern. Creating a piece for an individual to own and love feels like a very different kind of responsibility to me. You have to connect with your client at a very personal level
Publishing (book covers)
Project: Book three of the Binti trilogy for Tor Books
Turnaround: Generally about two months
Rights bought: reproduction in hardcover, paperback, audiobook, ebook
Brief given: Publisher to publisher, this varies greatly. Some have a very specific idea, others just send a manuscript. The Binti books were of that open ended manuscript variety, which means I tended to present quite a few ideas in some cases before we found the right one.
Sketch notes: An initial round of thumbnails were sent to fix the focus of the piece. From there, three fleshed out sketches were created. One of those was then taken further with notes to recompose some details before finally being approved to move ahead to final.
Final notes: I usually expect some notes on a cover and this piece followed that trend. Minor details for the most part though: clean up a shape here, tone down a value there.
Bonus round: AdvertisingI wanted to also say a quick word about advertising, though I honestly don't feel I've done enough of it to speak with as much confidence as the above subjects. I've done two projects this year that fall under the advertising umbrella and virtually nothing about them was the same except that they both paid better than any other clients for comparable hours. Typically, advertising has strong budgets but can be extremely micromanaging on details. If any category of illustration might reduce you to a pair of hands, it's advertising. Turnarounds are usually pretty fast as well, despite that some jobs can also be fairly complex. You're frequently dealing with a team of people, who in turn are dealing with another team of people, so there are a lot of cooks in the kitchen. Bottom line, hard work but good money. I've only ever had ad jobs come to me through my rep.
Any experiences in other illustration avenues (children's books, freelance concept art, etc.) that you'd like to add? Please leave a comment!
* Aquaman (mific)
* Bandom (lucifuge5)
* Person of Interest (felis)
* Steven Universe (juniperphoenix)
So while we already have a few recs to look forward to in October, it would of course be awesome if we had some more recs. There is still plenty of opportunity for you to jump in and volunteer to rec next month (or to convince your friends to do some reccing). And many cheers for all of our members who volunteer to rec, especially if you rec regularly. Your valiant repeat efforts keep the comm alive.
Looking even further ahead so far only ONE reccer has volunteered for November, so that month definitely still needs some love (and recs! *g*) too. So please consider reccing in a fandom of your choice, whether small or huge, and comment on the sign-up post and volunteer for October, November or even further ahead if you are so well organized, that you know your fannish interests and time commitments in advance. It's only four recs as a minimum, and you can rec any genre or rating. Or promote us to your friends or in your favorite communities so others do the work.
Open Rec Posting
The monthly open reccing period for all members starts now and lasts until the end of September. Since the general prompts don't seem to work as inspiration, I've decided to stop adding them, but to keep the open reccing period in case anyone wants to slip a rec in, without having to come up with three others for a fandom. However the recs do still have to conform to the usual rec format and follow the rules for what is allowed to be recced here.
(Comments here are disabled, because I want to bundle volunteering in the sign-up post so that nothing gets lost, and you can see the list of claimed slots there too.)
I've never been to the capital. I don't speak the language that people mostly speak there. (Everyone else in my family does speak it, but at home we always spoke Russian, the de facto lingua franca of the USSR, and that's all I managed to pick up by 7.) Kiev is new to me, and not new because I grew up on stories about it. (My aunt grew up there.) Odessa is familiar, full of people who will be happy to see me, but foreign too, like just another random European city, with buildings and customs that don't conform to the West Asian norms I find familiar and standard.
Anyway, if I started describing my feelings in earnest we'd never be done with parentheses.
I expect this trip will be a mindfuck. I expect being stuck with my parents for two weeks straight will be... a challenge. I hope, intensely, that the next two weeks will be wonderful and healing as well, as going home usually is.
Take care, friends.
Fandom: Marvel (Comics), Marvel 616, Avengers (Comics)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Steve Rogers/Tony Stark
Characters: Steve Rogers, Tony Stark
Additional Tags: Hurt/Comfort, Pining, Action/Adventure, Dinosaurs, Happy Ending, Avengers Vol. 3 (1998)
Summary: Tony's known Steve for ten years. With the formation of a brand-new team, with their bright future ahead of them, Tony's decided that it's finally time to ask Steve out. Now. Today. But his plans are interrupted when they have to go to the Savage Land -- where, of course, they are marooned together. Just the two of them, miles of jungle, profusely-bleeding injuries, and packs of vicious carnivorous dinosaurs. Not only are they not going to get to go on that date, they may not make it home alive at all.
This is my entry for the Superhusbands Aluminum Anniversary Anthology free digital zine, released today, of interest if you enjoy Steve/Tony. I collaborated with phoenixmetaphor, whose art can be found here.
The zine requirements were (a) nothing explicit and (b) no AUs and it took us FOREVER to come up with something that would be fun for me to write and her to draw until we hit upon DINOSAURS. Rawr. So here's some Savage Land h/c.
(Also, here is AIM Raptor, who did not make it into the story itself but is present in all of our hearts.)
“News of the OTW bubbled up from many directions at once, most likely through my associations with Escapade, but also through an academic colleague whose partner at the time was involved. I was so excited to hear about the emergence of this fan advocacy network which brought together fannish lawyers willing to help protect our fair use rights as fans; fan scholars publishing their work through a peer-reviewed journal; fan programmers using their skills in support of the community; and of course, an archive where fans controlled what happened to their own works without the interference of web 2.0 interests.
Each of these things is important on its own terms, but taken together, this organization has been a transformative force, in all senses of the words, for fans and their rights to participate.”
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Danielle Richard is an artist from Quebec, Canada who works in oil, acrylic and pastel.
Her subjects are primarily young women in pastoral scenes, along shorelines or in idyllic views of small boats or canoes on lakes.
Though there isn’t an overt similarity, her work reminds me of the sensibilities of some of the Pre-Raphaelite painters in the attention to nature, fascination with value relationships and the presentation of beauty.
Her website is available both in English and French, and her blog, though in French, is easy enough for non-French speakers to browse. There is a short interview with Richard on The Art Edge (part 2 here).
There is something gently dreamlike about Richard’s paintings, as though evoking those special little moments in time when it dawns on you — somewhat to your surprise — that everything at that moment is perfect.
Characters/Pairings: Don Flack & Mac Taylor
Content Notes: digital drawing - not for the DW Interests challenge but to show the comparison between the original drawing and this one with the faces. Still not satisfied with the eyes, eyebrows & mouth but more confident in drawing the head shapes, so many thanks to everyone who has given me suggestions on my last post - I really appreciate it very much!
( Who are the detectives? Take Two )
While we were waiting for the movie to start, we were talking about fannish things as per usual, and about how I sometimes classify a pairing as "I don't not ship it" and in thinking about it more over the past couple of days, I came up with my own personal taxonomy of shipping:
- OTP OF OTPS (i.e., the all-time greats, ironclad, no matter what)
- I ship it!
- I don't not ship it
- I could/might be convinced to ship it
- I don't care (i.e., if it shows up in a story that otherwise has things going for it, I'll keep reading, but I don't seek it out)
- meh, I don't ship it / it bores me so I don't read it
- I dislike it but whatever, other people can do what they like, I can scroll past
- NOTP (i.e., it's blocked so I don't have to sully my eyes with it)
Generally, when I talk about a pairing as as "I don't not ship it," I mean that they are people who are most definitely weird about each other, which is one of my personal flags for shipping, but in this particular classification, I don't care if they are having sex with each other or not (or with other people, depending), as long as they are somehow together – partners, brothers, whatever. I think (I hope!) it's implicit that I understand why people would ship them*, but I just...don't take that particular read on the relationship under most circumstances.
*as opposed to pairings where I don't.
And if they are having sex, I personally prefer it not to be framed romantically? Or, rather, in most cases, in terms of canon (rather than AU) settings, I don't find the usual shippy romantic tropes particularly interesting with these sorts of pairings. I mean, sure, 'there's only one bed' or fake dating are always on the table, but I don't feel like even those tropes should follow the regular narrative path. The clearest examples we came up with were Sam/Dean and Mal/Zoe, and I mean, I don't see either of those pairings as people who go on dates or have traditionally madcap rom com hijinks (which isn't to say that that couldn't be done with great results, but I don't think it could be played straight, as it were [I mean, Sam/Dean is incest, so it has its own challenges]). And she threw in Middleman/Wendy (which I do ship more traditionally), and I brought up Obi-Wan/Anakin, which is what I'm having complicated feelings about lately, and so it seems like a useful category to have. idk.
|Paris. Photo by Stephen Wilkes|
|Ellis Island, Photo by Stephen Wilkes|