I still don't think of a title...

Xiomara. 24. Argentina. Law student. Procrastinator.

Glee. Klaine. Chris Colfer. Darren Criss.
Doctor Who. GOT. Anime. Manga. Dorama. Japanese stuff. Harry Potter. THG.
Music. Rock. Pop. Alternative. Visual Kei♥. Most music in English or Japanese.

Reading. Listening to music. Drawing. Learning piano. Loves internet. Computer addict (?).

Spanish and English. Some basic French and Japanese.

Ravenclaw. Feminist. Whovian. Otaku (in the inaccurate western sense). J-rocker/Visual. Fujoshi. Lolita. Cafekko. Gleek. Kurtsie. Colferite. Klainer. Potterhead. Tribute.

Pottermore: pumpkinbludger134
Twitter: @Chibixio

Had to have this on my dash


Had to have this on my dash

(via lily-azalea)

I haven’t been particularly a fan of Sansa during the first books, yet she started to grow on me later. However, this article is pretty accurate.
And I may get why people dislike her, but hate on her? With all those other repulsive characters to hate on? Seriously. She might have made mistakes, but she’s just a victim of her upbringing. She was taught the world was a fairy tale, for years. Can you really blame her for believing it?
She’s strong in her own way. And even if she had tried to pass as a boy and do all the things Arya did, I doubt she would have got away with it. Arya was a child, but Sansa was already a woman. She was more likely to end up being raped and either killed or sold to a brothel. Sometimes you have to play along with your own oppressors in order to survive. She tries to survive in the system because she can’t fight it. Yet she still tries to do little good things whenever she can, like saving Ser Dontos or telling Olenna the truth. She didn’t need to do it, but she did, because she thought that was right. And that took courage.

baby husky and its tennis ball

(via colferschristopher)


"She’s Mrs Doctor from the future, isn’t she? Is she going to be your wife one day?”

(via tillthenexttimedoctor)

My 25th birthday cake.


New York Film Academy’s study of gender inequality in the film industry.

Just some interesting statistics about the portrayal and representation of women in film and in the film industry that people might be interested in.



Chimamanda Adichie - The Danger of a Single Story (TED Talks 2009)

Tell me again, what did you say about representation not being important?

Reblogging this because I think this is a good example of the power of the narratives we grow up absorbing (& still absorb now as adults) and how that affects the way we see the world, how we place people (and ourselves) in the world, and who we expect to see (and thus write into our own stories) in certain roles.  This is similar to another post I’ve reblogged about how people write certain tropes and narratives because “that’s just what you do”.  And it extends to other creative expressions too, like how you portray characters in illustrated or interactive media (comics, video games).

To put it in the context of what’s discussed on this blog, if you grow up on women being portrayed in a certain way, you’re going to not think twice when you write your own story about portraying them that way because that’s just “what you do”, that’s just what seems “natural” and “right” to you.  It’s why there’s so much midriff-baring armor for women out there, or high heeled boots on female warriors, or boobs and butt battle poses.  It’s also why the “average” woman portrayed in fiction is so far from average that it’s skewing our own internal idea of what “thin” and “thick” women look like.  Sometimes it’s a conscious effort (by the illustrator or their editor) to sexualize them, and sometimes it’s just what we’re used to, so we do it.  It’s just how we’re used to seeing women fighters, so when we draw them we do what we’re used to seeing.

And it’s the same with the representation of other groups (and remember, these groups overlap). The way we write and draw trans people is influenced by how we’re taught to think of trans people, and those narratives are usually informed by the media we consume.  The same as how “western” nations think of Asia, or Africa.  What we imagine those places are like in our mind’s eye.  We “know” what these places are like, what queer people are like,  what heroes are like, who fights dragons, who gets rescued, etc, because of how the media portrays these things.  It’s all around us, and we don’t have to consciously want to do these things to do them, because it’s just what seems “right” and “natural” and “automatic”.

That’s why it’s also important to challenge ourselves in our growth as consumers of product, and as creators of future product.  Why do we “know” what we know?  Is this actually the only way to do things, or just the way we’re used to seeing it done?  And it’s important for us to actively seek out for ourselves, different ideas, different narratives, and different perspectives, and to consider what kinds of messages we want to send with our own work.  Because, just like we grew up with the narratives that taught us “how things are” in a certain way, future children will grow up with the narratives we contribute to, and it will affect what they “know” about their place in the world, what roles they get to be and don’t get to be, whose stories are being told, and who only matters as an object or gimmick within that story.


Northern saw-whet owl (Fred Kellerman)

(via selchieproductions)