I would kind of like a story where pre-fire Derek Hale was known by almost everyone in town as a really nice boy, straight A student, a good kid. Everyone loved Derek, who used to clean gutters and mow lawns for harried single moms and rickety old people, who once saved a dog from drowning—it was even in the little community paper, the one that’s like 75% ads for local businesses and 25% stiltedly-written human interest stories—and played the baby Jesus in the live-action nativity one year, and smiled the whole time. (At one year old he was a little big for the role, but he was so sweet and happy no one cared, and it was meant to be, since Derek’s a Christmas baby himself.) Derek Hale: the darling of Beacon Hills.
And since most of Beacon Hills doesn’t know all the shit that went down right before he left or since he came back, they just remember Derek Hale as the poor kid who was orphaned and then moved away and then came back when his sister was brutally killed. So there is general outrage when it’s learned that he’s been arrested for his sister’s murder based on the word of the sheriff’s son, who is well known to be a troublemaker and a smartypants. The poor sheriff, so much on his shoulders, he does his best, but the boy does run wild, and he’s gotten away with it for so long—there’s only so much a mother’s death can excuse, God rest her soul.
So then, instead of the usual problem we see where Stiles and Derek start hanging out and they have to worry about Sheriff finding out because of Derek disapproval reasons, in this situation the problem is Stiles. What follows is a lot of frowning and tut-tutting over Talia Hale’s boy falling into the clutches of that bad influence Stiles Stilinski, who even got him arrested one time. That Stiles sure has some nerve, being friends with Derek, after what he did to him. And Derek, well, he’s obviously got the heart of a saint, to forgive him like that. But it’s worrisome, it really is, because Derek might have a few years on Stiles, but it’s common knowledge that Stiles has led the McCall boy astray more than once (the son of an FBI agent, even!), so who knows what he can talk poor, vulnerable Derek into doing.
Persephone as a dark and off-putting goddess who worries her mother by hanging out with satyrs and making weird stuff like pitcher plants and Venus flytraps. Hades being charmed and intimidated all at once.
Matthew: It is most certainly an intentional device on my part. It’s color theory, and studying it makes doing my job so much easier. Knowing how to choose colors that will do what you want them to do, to direct a reader’s eye, to frame a scene, or elicit a certain response is crucial to good coloring. Good color theory can even make up for other shortcomings, like being inexperienced at rendering (adding textures, highlights and shadows to define form).
The biggest mistake I often see in aspiring colorists’ portfolios is their focus on rendering before they have a good grasp of color theory. I went to art school and majored in “Sequential Art”, which is a fancy name for a degree in comics. (I think it’s to get parents of perspective students in the door. If you called it majoring in comic books they’d probably never let the kids anywhere near the school.) Of course, I took a color theory class as part of my foundation classes, and then as required by my major, I took a “computer coloring for comics” class.
I don’t remember the exact number of assignments, but we weren’t allowed to do anything but color completely flat for the majority of the class. The professor wanted us to be able to tell a story using only flat colors. So, without the aid of lighting or texture or gradients, you had to choose your single flat color for each background, or each face, very wisely to get the most out of your choice. I remember I practiced on a lot of Mignola Hellboy pages and studied a lot of Dave Stewart’s flat colors on that book.
Anyway, the point is that the importance of color choice was made very clear to me when I first started coloring comics on the computer. Looking back, it was important to limit myself in a program that had limitless colors and tools to distract a novice colorist.
We all know that the terrible “Enjolras is a robot who doesn’t experience human emotion” trope is a load of nonsense. But consider the absolute, radical opposite. Enjolras who feels emotion so strongly and so passionately, whose compassion for the people and love just love is the center of his being, whose desire for revolution—the sum of his love, of course—is both an intellectual conclusion and an almost visceral need for justice, for change.
It will surprise you not at all that I adore this post, but: I ADORE THIS POST. I think part of what gets latched on with ‘unemotional’ thing is the whole Logic of the Revolution aspect, where people think of logic as math and formula— but the Logic of the Revolution is VERY emotional, based on all kinds of painfully sincere beginning theories about the basic value of humans and humanity.
When Steve Kloves (who wrote the majority of the Potter screenplays) met J.K. Rowling for the first time, he told her straight up that Hermione was his favorite character. Rowling admitted to being relieved, and who could blame her? It was more likely for Hermione to end up disrespected on screen—she wouldn’t be the first female hero to get butchered in the reels.
But this resulted in an undercutting of Ron’s entire character from the first movie. Don’t believe it? When the trio go after the Philosopher’s Stone, they face a series of tests that demand each of their skills in turn. Time likely demanded that this sequence be cut down, and so Hermione’s test—solving Professor Snape’s potion riddle—was removed entirely. To make up for this, she gets them out of the Devil’s Snare, Professor Sprout’s deadly plant. Hermione shouts to Harry and Ron to relax so the foliage will release them—but Ron continues to panic and moan (in campiest fashion possible because he’s played by a child actor and these things are always requested of them), requiring Hermione to blast the thing with a sunlight spell.
In the book, Hermione is the one who panics. She remembers what her lessons taught her—that the Devil’s Snare will recoil at fire—but balks at their lack of matches while they are being strangled to death. Ron immediately shrieks to the rescue YOU ARE A WITCH YOU HAVE A WAND YOU KNOW SPELLS WHAT ARE MATCHES.
It’s a simple change, but it makes such a marked difference in how both characters come off to an audience. Rather than a near-infant, incapable of following the clearest directions, Ron is the even-keeled nitty-gritty one. He’s a tactician, the one who will find the simplest answer to a problem provided that the situation is dire enough to ensure his clear head. Ron is good under pressure and brave to boot. He’s also hilarious.
It is easy to write this off as an actor problem; Emma Watson matured and improved much faster than her costars in terms of talent—and Steve Kloves liked her portrayal so much that he started giving her many of Ron’s important lines. During The Prisoner of Azkaban, Sirius Black is trying to get to Peter Pettigrew (currently disguised as Scabbers the Rat), but Ron and Hermione are convinced he’s after Harry. In the book, Ron stares up defiantly from his mangled, broken leg and tells Sirius Black that if he wants Harry, he’ll have to get through his friends first.
Yeah, my leg hurts way too much, Hermione. You take this one. But say it’s from me. And in the film, it’s Hermione who boldly steps in the line of fire while Ron sobs in pain and babbles incoherently.
These rewrites not only depict Ron as an idiot coward—they also make him an outright jerk. When Professor Snape snaps at Hermione yet again for being an insufferable know-it-all, movie-Ron gives her a look and drawls, “He’s right, you know.” Wait, what?! Harry, why are you friends with this prick? Well, maybe because the Ron Weasley that J.K. Rowling put on paper was in that exact same situation, and immediately leapt to Hermione’s defense when she was being abused by a teacher—“You asked us a question and she knows the answer! Why ask if you don’t want to be told?”
like i will see people apologize for making a lot of them and i’m just
a) it’s YOUR blog, you can recite the greek alphabet one post at a time if you really want to
b) you don’t owe your followers shit
c) personal posts are fucking interesting, man. if i am following a blog i am okay! with knowing about the person behind that blog! nobody’s gonna begrudge you having a life outside the intermajig and talking about it.
The marauders sitting in the common room doing homework and James is reading for an assignment and he thinks it’s stupid and just yells “are you fucking serious?!”
Remus says “yes” before thinking it through and begins contemplating a jump off the astronomy tower. Sirius looks momentarily horrified then Peter passes over a galleon to James and they move on with their homework as if it never happened.