#(like I said... complicated. and narratively compelling!)

[veinsfullofstars]

🕸️Kirbtober 2024 Day 2: Revenge 🕸️

(ID: Kirby series fanart of Dark Meta Knight and Taranza, the latter looming behind the former with violent intent in his four front-facing eyes, his six hands clenched into shaking fists and curled into claws and raised over his head to conjure a pair of glowing spiderwebs. Meanwhile, the knight stands in blissful ignorance in the foreground, a mug of steaming coffee in one hand, a rolled-up newspaper in the other, glancing off in confusion as a thought bubble over his head reads, “Why do I hear boss music?” END ID.)

Based on the implication from KTD’s Dededetour! that DMK might be responsible for Sectonia’s corruption, indirectly or otherwise.

Previous Day | Next Day | Prompt List (made by @/paintpanic)

Started on 08/30/24, finished on 08/31/24. | Kirbtober 2023 Comp

[fallenandinlovewithhumanity]

Watched 9-1-1 for the first time (and caught up) Here are some unsolicited and unfiltered opinions about our fave gay firefighter show.

Bobby Nash: Must be protected at all costs. Traumatized dad doing his gosh darn best. So happy he is loved by the 118 and that he seems to be accepting that more now.

Athena Grant: There's a post out here somewhere about how people named after gods/goddess embody that deity. And Athena? Yeah she does exactly that. That woman deserves so much respect for the badass she is.

Howie "Chimney" Han: Silly goofy man who needs a hug and appreciation. His storyline with Kevin and every parallel to Albert made my heart hurt.

Evan "Buck" Buckley: Sweet baby boy, the firefighter Dean Winchester of another universe. I LOVE THIS MAN. Seeing him smile on screen is so infectiously amazing and I want to send a strongly worded letter to all the writers who are clearly trying to make sure I stay in the "fix-it" tag of Ao3. He is by far my comfort character in the show and someone needs to tell that man that he is loved.

Eddie Diaz: If I had to describe my type in two words it would be "Eddie Diaz." Holy fucking shit. (<- written by Buck.) But seriously, I've seen some stuff about how he's not the "best" latino representation because he does not have any specific cultural storylines ( I would love to see celebrations or other cultural things too, maybe for 8B and onward) but I for one feel represented plenty by his complicated relationship with expectations coming from his parents, partners (former or otherwise,) and himself.

Hen Wilson: GIVE THIS WOMAN A BREAK. I love her and it seems like she is always hurting when it comes to her family. Please give my queen a goddamn break. Some domestic bliss would do her kindly.

Maddie Buckley Han: When I say that I would die for her to be safe and happy, I mean it. The Buckley siblings have dealt with so much but Maddie, her storylines not only hit something compelling and dramatic but they are also too fucking real.

Christopher Diaz: I love him. Amazing. A fucking king. No Notes. Please come back to your dad(s).

Carla Price: LOVE THIS LOVELY HUMAN.

The Grant-Nash Fam: Harry and May are interesting characters and I really do love seeing them on screen, I understand why we see less of them though. Michael and David were lovely as well.

The Wilsons: Imma repeat what I said earlier, give them an episode where the biggest thing to happen is juice boxes getting left behind. They need a break. And give Karen more damn screen time that isn't just crying and fighting with Hen.

Josh Russo: the pre-Glee/ post Glee explanation was gold.

Captain Vincent Gerrard: Grumpy old man that needed a cozy job. Loved his "taking you under my wing" moment with Buck.

The Bigger Love Interests (Eddie):

Ana: I really liked her character, but saw how much anxiety was embedded into that relationship. She was never sure of her place and he was never sure he was ready.

Marisol: This felt weirdly rushed and like it happened mostly off screen. The nun thing was... catholic guilt intro I guess??

Shannon: Oof. The drama, the need for closure. I enjoyed having her on screen and I cried when she passed.

The Bigger Love Interests (Buck):

Abby: He was much more invested in the relationship and I think part of it was the circumstances but the way she left him was so damaging to his psyche. Not a fan.

Ali and Natalia: They did not leave a lasting impression on me. Though Natalia being interested in Buck because he died did raise some red flags.

Taylor: Listen... I love her fierce independence so much. But she did Buck so dirty. Trust issues and abandonment issues for Buck coming right back up.

Tommy: Narratively speaking, I tried to understand why he happened but I don't. His confusion at the beginning of the relationship just made me think that he just went along with what Buck thought he wanted. As a character, that man felt a bit one dimensional, and when he showed an ounce of personality it was always an interaction with Buck that made him feel lesser than. I feel blessed that man is off my screen.

The Writing/ The Plot:

At this point I am watching for the two idiots sharing a brain cell. But.. the disasters and plots are out of left field and really interesting. It takes a lot for a procedural type show to not fall into formulaic/ average 911 calls and I feel like at least one writer has a subreddit or something pinned to get ideas. I am far too invested in the 118 to leave now.

What do I ship at this point?

Buck and Eddie.

Athena and Bobby.

Maddie and Chim.

Hen and Karen.

Would I recommend this show?

Abso-fucking-lutely... if you enjoy some pain, I swear all these characters go through so much and the tissue boxes are not enough.

Thanks 9-1-1 for bringing me back to Tumblr.

And if anyone has headcanons, I would love to hear them!

[vigilskeep]

avoiding most reviews like crazy for fear of spoilers, however I’m scared that some have said that rook can do no wrong even when picking the most aggressive impolite options, there’s never any social consequences for *choosing* to be rude, or even dismissing others worldviews and beliefs.

i will say a lot about inquisition, but at least it let the player have complicated relationships with the party by not having everyone agree to everything they say as the word of god

us getting to have complicated relationships with the party in dragon age inquisition is, frankly, news to me

personally i’ve seen more of people suggesting you can’t be as rude in the first place, than people saying the game doesn’t react when you are? to which i have to say, yes, interactions with the party are going to be different in veilguard than in previous dragon age games. they’re writing a protagonist who the plot requires to be more of a hero type who chose to join this venture, every party member is essential to the main plot, and they’re openly going for a “found family” dynamic, which (i would strongly argue) they’ve never done before. the group is intended to work as a whole, to be people who all care about each other, rather than simply being tied together by your player character. you’re not going to have a situation like in every other game where companions can get thrown out or betrayed or aggressively belittled by the protagonist, because this party simply would not work if you were doing that to certain members. the story they are telling this time would not make sense

however, i’m yet to see that that means we can’t have complicated relationships with the companions? in fact, we know it allows for main plot choices with lasting, drastic consequences on our relationships with certain companions. we know you can disagree with characters and still progress your relationships with them. there are new opportunities that we never had in previous games for all companions to be closely involved in what’s going on, and thus for all companions to have opinions that matter on all of rook’s decisions. i’ve already seen footage of companion commentary absolutely not holding back on challenging even relatively small choices

i think challenges from this style of companion can be very compelling in their own way. if all these companions are considered equally good-aligned by the narrative and care about each other, and they still sharply disagree, it suggests fewer conflicts with simple right answers. i think that could be a breath of fresh air from previous dragon age games which have often and regularly fallen into the trap of “obvious good answer” and “the answer your slightly evil companions will like”. there’s a reason so many worldstate decisions and quest endings are overwhelmingly popular, right? isn’t it possible it will be just as interesting to engage with a story where you are definitively written as good-aligned, but that means you get real choices between options just as justifiable as each other—or as bad as each other?

it’s a change so it’s by nature not going to be for everyone. you’re not going to be able to play certain kinds of character that you could in previous games and if that’s what you were looking for in another da game, that’s a disappointment. but i don’t think dragon age should necessarily be restricted by that forever? like i don’t think it’s necessarily conducive to good storytelling to always have to input evil/mean options and reactivity just for the sake of it. and i completely understand why it would be detrimental to the game they’ve chosen to make this time. their primary selling point and concept is the complex team dynamics. can you imagine the sheer bulk of writing it would take to have these companions as thoroughly invested in each other’s lives as they seem to be, and let you be horrible to particular ones? for how many players’ benefit? for what story coherency, when building these relationships is the plot of the game? i don’t really see the point

that’s how i feel about it idk. i’m optimistic. i also don’t rlly think jumping to conclusions at this point is worthwhile. the reviews are largely positive. it’s coming out in a day and a half. let’s just wait and see?

[desmon1995]

Derailed: The Anthem of Anxiety

Derailed this is more often than not held as at least one of the top five songs from the album and I wanted to make an ode to it to analyze I think why it's easily one of the best songs that shows that LMM and Eisa Davis are masters of their craft.

*Derailed* hits like a warped reflection of one of Lin-Manuel Miranda’s iconic madrigals—the kind where overlapping voices collide into a storm of sound and emotion. If it had a kindred spirit, it might be *Blackout* from *In the Heights*, but twisted into something darker, more unhinged, like anxiety given a melody.

What makes *Derailed* particularly striking is how it opens from Cleon’s first-person perspective, recounting the moment her life was literally and figuratively derailed at a train in Dekalb. If we assume the album takes place in the same gritty 1979 as the film, it’s tempting to link Cleon’s story to the infamous 1961 train derailment at Lincoln Highway and Fourth Street. The idea of her being a child caught in the chaos is a chilling one, though history complicates the narrative—this wasn’t a passenger train, and the only children involved were in cars nearby, not on board. Still, the imagery of that disaster looms large, adding an eerie layer of plausibility to Cleon’s backstory.

The crash out Cleon is having is understandable considering she saw one of her inspiration Cyrus gets shot in the head and she managed to actually witness Luther committing the murder.

(also note the Davis stated that she sprinkled some Hamilton references throughout this song and the world falls down is the first one).

I think this is where one of the more compelling parts happens because Luther and by extension his gang begin to rally everybody around the idea that the Warriors are the ones who diced Cyrus.

Musically, we can hear just how powerful Luther's voice is because this song shifts into being a Black Sabbath styled riff that has the honor of being the first time Rock being introduced into the album.

I wanted to hone in on this that Luther and by extension the cops are defined by rock and roll/metal is another really clever use of thematic storytelling.

For those who may not know, these genres WERE CREATED BY POC, primarily African Americans with Chuck Berry being the father of rock and roll along with big mama thornton, and heavy metal owing its creation to Jimi Hendrix.

Luther and his gang were given a seat at the cookout and metaphorically and literally used that opportunity to devastate said community with a full-blown hate crime while simultaneously appropriating something from that culture as if it's theirs.

Tangent asid, Luther takes advantage of all of the chaos and blames the Warriors which all of the predominant male gang members just follow because at the end of the day the loudest white voice in the room will always be a guiding voice unknowing or not in a very eurocentric country.

if you watch the movie, Cleon is literally being attacked by the Rouges and Griffs because she can't really see a place to escape and as she's being overpowered she yells for the Warriors to escape.

I do find an interesting that both Swan and Ajax are both the ones coordinating the girls through all the chaos with Ajax telling everybody to stay down and Swan trying to find an opening for them to escape.

Cochise seems to be the primary muscle during this portion as well.

Something I didn't really noticed until I actually looked at the lyric video today was that in the background you can hear the other gang saying things like " Cyrus GOES DOWN and Sirens" which is really neat.

Derailed is also super important because it's the one that introduces all of the motifs of the various characters.

Ajax near the end laments that she hates running, Luther as I said, is in the background yelling that Cyrus went down which foreshadows his own song going down, and then there's Fox's character Arc.

Fox’s melody and lyrics here are both reprised in Reunion Square, where the words ‘we’ and ‘us’ are changed to ‘I’ as Fox fights the cop; interesting to note that the cop also sings this melody underneath Fox in Reunion Square, harmonising to show that he, too, has only one goal – survival – in that moment.

Pippa Soo is the phenomenal actress that plays both Eliza Hamilton and Fox, and in many ways these characters mirror one another since both of them want to keep their loved ones alive but Fox sort of pulls a Philip Hamilton because Fox starts off as being kind of the most haughty of the Warriors and as noted on the reddit, she even speaks in a much more sultry voice during her Cypher verse and to make yourself seem on the level as her older sisters (she seems to be trying to emulate Ajax).

Another thing that I want to comment on is the Griff's " WHO WILL SAVE US"

This cry could be said to draw a comparison between Cyrus and a messiah figure like Jesus.The vision she shared with the crews of the 5 boroughs promised them a city they could feel safe in if they trust in each other, similar to the promise Jesus makes to deliver the Israelites to a land of milk and honey if they trust in him (Exodus 3:8 KJV). She also encourages them to view each other as brothers and sisters under this new truce and to protect each other accordingly – also similar to how those who follow the will of God are viewed as brothers and sisters in the eyes of Jesus (Matthew 12:48-50). Overall, this vision promised some form of salavation for the crews of New York just as a messiah promises salvation to their people.The fact that the Riffs ask who will save them now suggests they viewed Cyrus as their messiah for a promised future and that without her, that future is lost.

Masai largely echoes the sentiment later on in " Still Breathing" were after he finishes beating up Cleon he ends up puking his emotions out.

It's been talked about the death, but I feel like at that point Cyrus and the fact that you was a woman did it register she ended up becoming something completely non-binary, a symbol.

While the way her game went about it was completely wrong, it shows that her spirit can metaphorically be embodied by anybody regardless of who they are but it seems like most of the gangs saw her as more than your average woman which mistakenly causes them to revert back to punching down on others like marginalize women.

The song ends with Luther chanting his iconic "Warriors come out and play" as the Warriors run away through the cemetery.

Although you can't see it, in the movie Cleon completely dismantle Luther which again foreshadows what's about to happen to him later on.

Luther for whatever reason has headcannoned the Warriors is being a bunch of weak little girls that are running away for their lives but in actuality they're a pride of lionesses the know how to maneuver their way through tough situations even when society is beating them throughout the night.

He finds out the hard way when he and Crosby ride into their den on Coney Island and Swan gives him a one-sided beatdown.

And that's the analysis.

Derailed is incredibly loaded in a good way and out of literally any musical number I've seen for a while does a great job of establishing everything without beating you over the head.

[copperbadge]

Hi, please ignore if this is too personal, but as someone with Jewish ancestors who is considering conversion, I'd love to know your reasons for converting? For me it's more about community and reconnecting with that part of my family (there's a complicated family history there) than about religious belief, but I'm worried that might not be enough of a reason, if you know what I mean?

I don't know, I think conversion to Judaism is hard enough that if you don't have "enough" of a reason, you'll find out -- but I also think that one doesn't have to have a "sufficient" reason to convert to any faith which allows it, just determination and respect. If you want a connection to your ancestors and community, that's a very powerful motivation. And if it's not enough to sustain you through conversion, that's still a huge self-discovery for you, and while some practice should remain closed, you can still connect through things like traditionally Jewish foods and appreciation for Jewish art and culture.

For me, it's not that it's too personal, but it's difficult to vocalize; often when I'm asked about converting there's an assumption that I'm marrying a Jewish person, and when I say no, I usually add, "I just hear a call." Which admittedly is much more often said by Christians joining a ministry, but it's the most truthful I know how to be in short. Something in Judaism speaks to something in me. I have very little Jewish ancestry (although every time the DNA websites reevaluate their calculations it ticks up a percentage point, which is hilarious to me; I'm up from 2% to 6% currently) but the attitude towards the divine, the strength of tradition, the respect for learning, they all speak to my soul.

Even the hard stuff -- content in Torah or Talmud that I find difficult to reconcile with modern sensibility -- is at least something to challenge me, and Judaism is a faith that encourages argument, so I'm allowed to have a critical opinion of it. I think a lot about a quote I read from someone (possibly a reader, if so I am so sorry I can't find your name in my memory) who said, "I keep kosher, but sometimes I eat bacon when I'm mad at G-d." I think a lot about my Methodist confirmation class, where I was almost kicked out because I thought the Parable of the Wedding Feast was stupid and continued to argue against it after, realistically, I should have stopped; if it had been a class for a Bar Mitzvah, we might have been allowed to really examine it instead of glancing across it awkwardly and moving on. (As I found out years later, it was basically about how anyone can be a Christian but Jews should be punished for refusing to convert, so you know. Even as a kid I was very Jewish in my approach to theology and knew anti-Semitic propaganda when I heard it.)

I like that so many of the traditions involve things that I find compelling: bread, fire, water, the written word, the cycle of the harvest. I like that there's a search for truth and precision in Jewish scholarship, and that scholarship often seems to reward a neurodiverse approach to faith and study. As someone committed to philanthropy and versed in radical compassion, the exhortation to care for others baked into every foundational Jewish text is also very attractive. Some of the prayers I find viscerally satisfying (particularly the Traveler's Prayer, for some reason).

I find faith in a single divine entity extremely difficult, but one of the first things that got me to seriously consider Judaism (something I'd already been interested in) was being told that you can be an atheist Jew. To be able to commit to a faith community while still struggling with faith itself feels special to me. Whether a divine entity caused the miracle of the oil we celebrate this time of year is immaterial to me; the beauty of the narrative, the righteous rebellion rewarded with eight nights of light, is enough for me.

I might never finish conversion; realistically while I've done a lot of studying I still haven't worked extensively with a rabbi on a conversion path, and I do not call myself a Jew and won't until I complete conversion (I do observe a lot of the holidays and prayers, but mainly because that's generally advice to converts, so they can understand the demands of the faith and the myriad issues with being Publicly Jewish). But that's fine too; Judaism has been around for thousands of years, it'll wait for me, and if I never convert I'm still enjoying the journey.

[renewedmotionforjudgment]

You're telling me after she goes ride or die for him like you said and all the stuff she did this episode she's still hesitating between him and the ex eunuch? I saw some people who read the novel say she does some very messy things to him even later on and I'm dreading it so much.

I'm genuinely going to try to not be snarky here, but relationships are complicated?

If you want a cdrama that goes from the spectrum of love, mutual ride and die, and no mess, there are a lot of very fluffy modern cdramas that will cater exactly to your taste.

But here, the drama (and the novel which the drama has been following decently) makes it clear that Li Rong is this character who doesn't necessarily understand love. Not because she's incapable of it (all of her actions in fact reveal her as a character with deep capacity to love), but it doesn't exist in that palace environment she grew up in where her own birth mother is willing to sacrifice her for her brother's and her clan's power. So of course there is messiness! She's unlearning her damage!

And her and PWX's relationship is complicated and nuanced. I will note that even PWX himself is not forcing her to return his feelings after his confession in the rain. He understands that there is a lot of history between them (and with her and SRQ, who after all was her companion for 20 years). But what's so compelling about her and PWX's relationship is that even though they can't quite label it, they consider each other as family.

TL;DR - relationships are complicated. It's perfectly fine to nope out of a narrative you don't like. But the way these characters act make narrative sense.

[dreamgirljune]

hey, i hope you are doing good :) i am not a Christian and don't know about what is there in bible. But when you reblog the judas and jesus posts, that makes me very curious. i know you are atheist (as you have said on your post) but if you don't mind, can you please tell me about them? i searched on internet but i get the common story everywhere... i want to know your interpretation of it and how u see it as poetic.

i am sorry if unknowingly i offend someone by asking this question~

i think of it like this

some days you are jesus. you hold so much love in your heart that you are sure it is going to kill you someday. you are looking into the eyes of someone you wish you had a lifetime with, knowing in your heart they will kill you. you tell them and they don't believe you. you wash their feet and feel your tears fall into the water. you would take care of them forever if you could. you wish they would have let you.

then some days you are judas. you are desperate and complicated and you want to believe you can be something good. and you love jesus, more than you think you have ever loved anything. but love is heavy and weighs on your chest like an anchor. you will do anything to be free. but when he's gone, you will never breathe easy again. you will choke on your unheard apologies. you didn't mean for it to end like this. you didn't mean for it to end.

i think narratively, they serve as such a fascinatingly tragic love. and though i'm not religious anymore, i've always found the idea of judas deeply compelling. in the christian faith, jesus was sent from heaven to die for our sins. and he couldn't have done that without judas, the ultimate sinner and the ultimate lover.

[utilitycaster]

Saw a post in the tags; did exandria historically have a thing abt persecuting ruidusborn? The post mind you was largely lambasting the gods along the lines of "these gods should shut the fuck up abt their extermination when their followers in modern day are going after ruidusborn" which... Doesn't seem like the same thing for a number of reasons but also I wanted to ask a wiki person because i didn't think that anyone was actually doing that

Hi anon,

I don't know if I've seen that post precisely - there's a very good chance it's from someone who I have blocked and haven't thought to check to see what wild stabs in the dark they're making now, to be blunt about it - but this is pretty much entirely incorrect and/or deliberately leaving out crucial context.

Exandria historically had a stigma about Ruidusborn. There has been no evidence of widespread persecution specifically for being Ruidusborn. What little negative responses we have seen and have evidence of has either not actually been specifically "this person is Ruidusborn" but rather "this person has uncontrolled and invasive psychic powers that are negatively impacting me specifically and so I am, understandably, put off"; or has been a mere acknowledgement that a stigma exists. Notably, this has not specifically come from followers of the gods. We haven't seen any information about the presence of religion in Gelvaan and Laura herself as Imogen has alternately said once that she did pray to the gods and multiple times that she didn't, so anything here is entirely presumptive. (We also know that Imogen literally didn't know what Ruidusborn were until it was told to her, so I think we can pretty safely say that prejudice against Ruidusborn simply for being born under the moon, rather than like, the invasive psychic powers, was not the issue there). Alma, Orym's mother, mentioned that the Ashari attempt to avoid having Ruidusborn by delaying birth simply because of that stigma (episode 3x66) and the Ashari aren't affiliated with a deity.

The Ruidusborn page on the wiki is here, and you can cross-check with the citations (I am flattered that you ask me as a wiki person, but a wiki is a public document anyone can edit - if you are wondering, and especially if you are trying to debunk something, please cross check citations for the source of truth). I cover the key ones below.

Per Call of the Netherdeep, page 6, the widespread superstition about Ruidusborn themselves is that they are "destined to bring suffering to others, or to experience great tragedy in their own lives". This is actually less harsh than the superstition about those who study Ruidus, who are believed to be "compelled to cause misfortune and woe". Estani, in Episode 3x19 states the following: "Many important, whether for honor or great sorrow, individuals of history have been claimed to have been born under such a ruddy light." We also know, from Call of the Netherdeep, that Alyxian the Apotheon was both Ruidusborn and a devotee of the Prime Deities, receiving blessings from three of them. Obviously Fearne lived a weird and sheltered life, but we didn't find out she was Ruidusborn until we met Birdie, and she never experienced any prejudice about it during EXU or early C3 or really after that, unless you count the fact that people attuned to the conflict on either side (see next two paragraphs) like Otohan and Groon noticed it. In short: the lore about Ruidusborn and the responses to Ruidusborn in history are varied and complicated.

Finally, just from watching the show: people who do not know Imogen is Ruidusborn nor related to Liliana and whom she does not use her psychic powers on tend to respond pretty positively to her now that those powers are largely under control. I've talked before but there is a certain type of fan of Imogen that leans heavily on the "stripped of choice" narrative in which she has never done anything wrong in her entire life and has always been a victim of cruel circumstance (and more generally tends to abdicate all responsibility for their blorbos - and, frankly, themselves - not realizing that people who squirm out of their obligations are loathed for good reason and they're only worsening the response to both their blorbos and themselves). Anyway, the idea that she was persecuted simply for the circumstances of her birth and not that those circumstances led her to do things that are genuinely extremely offputting, even if done involuntarily, is a relic of that "stripped of choice victim" false narrative.

Now: it is technically true that followers of the gods in Exandria in 843 PD are going after a large number of Ruidusborn. If you have been watching Campaign 3 of Critical Role and are not absolutely fucking stupid you may have noticed this is because the Ruby Vanguard, which heavily recruited from Ruidusborn, have instigated widespread unrest and are actively trying to kill the gods by unleashing Predathos. They are not going after all Ruidusborn; in fact, they've worked with several Ruidusborn prior to Imogen and Fearne and their main reason for suspicion was "you are literally the children of generals for our enemies, and also all other Ruidusborn we previously worked with ended up leaving to join the other side", not "you are Ruidusborn and so you are bad." They are going after the army that recruited Ruidusborn to kill the gods. The Ruby Vanguard shot first.

Really, it's the same nonsensical circular logic being put forth re Aeor and Ruidusborn. The people who specifically plotted annihilation of the gods first were Aeor (with the Factorum Malleus) and Ludinus and the Ruby Vanguard (with the Malleus Keys and the intended unleashing of Predathos). To be clear: I am not denying people may have had negative experiences with the gods, but in both cases, their response wasn't to spite them: it was to attempt total annihilation. It was to create something with the intent of destroying every single god. We do have a word for that, and people keep solely using it about Aeor while ignoring it was the instigator. The gods (and their followers) are in both the case of Aeor and the Vanguard responding to an attempt at their extermination, and then these people are like "um, why won't the gods just sit still and let themselves be executed? Figures that these horrible entities are trying to stop the firing squad that has their guns pointed at them. This is just more proof that they should die - what kind of terrible person doesn't lie down and let themselves be killed!"

For what it's worth, I do not think that if Bells Hells and the Exandrian Accord foil Ludinus and the Vanguard's plans they will then proceed to exterminate all Ruidusborn, because their intent is stopping people from unleashing an existential threat that would kill all the gods, not murdering people because they were born during Ruidus flares. The goal here is not extermination; the goal is their own continued survival which requires the painful and difficult choice of sometimes killing those who are dedicated to trying to kill them. This isn't like, a novel concept in fantasy, history, nor ethics, but we are not dealing with the brightest stars in the fandom firmament here.

I mentioned before that I have yet to see a post that posits all the gods should die or that sides with Aeor entirely that isn't riddled with factual inaccuracies from the lore, and that I wish we had "readers added context" options on Tumblr; sadly, we do not. I am happy to answer questions like these, but I do want to encourage people to check the actual text. If anything seems off? You can definitely ask me (and I do have all the CR sourcebooks so if you don't, I get it) but also we've got searchable transcripts that I highly recommend using. Don't take any posts - mine included - at face value if it doesn't line up with what you personally understand. But also make sure what you personally understand is supported by the text.

[lurkingshan]

Unknown (2024)

A Plug and a Content Warning

I have watched the first two episodes of this drama and this is, hands down, the best bl I have seen out of Taiwan in years. The creators have a firm grasp on the story they are telling, the characters are extremely well drawn, the relationships are compelling, and the production is strong enough to support the narrative. The show is based on a novel by Priest, and the confidence in the writing is evident.

That said, I cannot give a blanket recommendation for folks to pick this show up. For one, it’s centered on a romance between (essentially) adoptive brothers. So right out of the gate, if that trope is a no go for you, you will not like this. The family bond is very real and I expect it to be a very real complication.

On top of that, this show is quite dark. Our little family have survived some very rough childhoods. CWs for the first two episodes alone: child abuse, including CSA, child abandonment, homelessness, poverty, gang violence, blood, PTSD. If you decide to watch, please know that some of the content is truly upsetting. Please take care and know your limits.

Priest has a pretty strong track record with writing complex trauma and nuanced family dynamics so I am inclined to believe this has a strong chance of holding up, assuming the adaptation remains solid. All caveats above aside, I’m excited to have another strong Taiwanese drama to sink my teeth into.

[wolfsetfree-if]

Another anon's two-cents if you'd like,

I think it's okay and even good that it might be frustrating. It makes a ton of sense for a game about healing to have frustrating moments because healing itself not garunteed to be a smooth or even linear process which IS frustrating when you just want to heal and return to normalcy. It isnt throwing a wrench in the works fot the sake of padding the plot or weighing down the pacing, it feels natural and serves a narrative purpose, lending weight to the idea that healing is a long, sometimes complicated process that isn't always smooth sailing. so the narrative, if anything, is advanced when mc encounters a potentially frustrating wall or set back. And not only does it make for an understandable and relatable story, but if you want to give potientially frustrated players a way to vent that within the story itself it could turn a frustration with the story's mechanicals or pacing to a way to empathize with mc.

Giving mc the chance to experience and react to setbacks through hope, frustration, or dejection in these situations literally builds their character, and being able to interact with that character building process in different ways depending on our mood or the kind of character we want to play through choices, even if its just an emotional response, is a big part of what makes interactive fiction so compelling in the first place!

Sorry for the wall of text, either way I'll enjoy the story, Im already invested in mc and their new pack and looking forward to updates 🥰

Thank you so much for this very thoughtful ask, anon. I completely empathise and agree with everything you said.

It is why I have decided to go with this path, because as you said it fits the main theme of healing of the game, and healing is painful, frustrating and can bring one step forward and three steps back.

I'm going to try my best to both describe MC's emotions and give the players varied possible reactions to the setbacks MC will go through.

[licncourt]

hi!!! i'm new to tvc and your blog so im not sure if this has been done yet but :'D i just wanted to ask your thoughts on akasha, even generally speaking? thanks!

Welcome!!! I have lots of thoughts on Akasha, but mainly I think her existence tells us a lot about the author and provides a lot of context for how AR approaches female characters in the series overall. I think Akasha, Claudia, and Gabrielle are a very succinct look at how Anne viewed women and the archetypes she felt existed within womanhood. Akasha is really the final boss of anti-feminist strawmen, written to be the ultimate evil and Bad Woman, but she just kind of ends up being an almost-compelling female character instead.

I think Gabrielle has strong elements of that, but the fact that she was so heavily inspired by AR's mother softens the narrative to her some despite the bitterness there. Akasha is something else though, and the narrative on a meta level does not seem to feel sympathy for her.

AR obviously had a very complicated relationship with her own womanhood and a virtually unshakable "not like other girls" mentality her entire life. It was some truly breathtaking internalized misogyny or maybe even a case of gender dysphoria that turned toxic. I doubt we'll ever know for sure, but that loathing she seemed to feel towards womanhood is very much on display in QotD.

Looking at the book as a female reader, I can't help but feel sorry for Akasha on some fundamental level despite the absolute evil she also commits. She was a queen, but doomed to be subservient to her husband on the basis of gender. Then, through some incredible accident, she's suddenly the most powerful human being there's even been, only to then be tortured and spend thousands of years internally conscious but unable to move, speak, or do anything at all.

It's almost an Eve story, a woman who is designed to be a man's inferior who instead seized knowledge and power (and the narrative), gained autonomy from and influence over her male counterpart, and then was punished for it by the larger forces at play. In some ways she reminds me of Claudia too, driven insane by her circumstances and unable to comprehend her own monstrosity, but she's also more evil than Claudia was ever capable of being due to her age (torturing and ordering the rape of of Maharet and Mekare, forcibly turning Khayman, etc).

If Anne had left it at that and changed her goals to be less grandiose, I think her character would have read better and been a more complex and convincing villain in the evil-but-a-victim-of-circumstance way that so many VC vampires are. That's one of my favorite things about the original VC vampires that was present in Akasha but not executed with quite enough finesse. Instead, I think Anne takes it way too far into cartoonish hatred for feminist stereotypes.

For most authors I wouldn't feel confident saying that was the intention but AR, if nothing else, aggressively involves her personal feelings and beliefs in her work, often to the detriment of the story. VC is just the fictionalized inside of her head and we know that. Combined with her other female characters and her own public statements, it's hard not to eye roll at the climax of QotD when Akasha decides she's going to kill 90% of human men and turn the Earth into a new Eden with her as the goddess for the human women (and male human chattel).

In that sense of her character, it seems like foreshadowing to Blood Canticle Lestat reprimanding the audience directly, just Anne finding something to be irrationally angry about and writing it into her book. I've said before that QotD is a step below IWTV and TVL because the cracks in her writing really start to drag the book down like they would for the rest of the series to a rather extreme degree. Knowing this was her last book with an editor, I'm curious how much of the overall readability of the book can be attributed to that/how far gone Anne already was at this point.

In spite of all that, it is kind of fun to go balls to the wall and take a Hell Yeah Get Them mentality when Akasha goes scorched earth because despite it all, it's sort of cathartic to watch a overpowered female vampire go on the warpath and scream all the deepest frustrations with patriarchy that many women struggle with. At the same time, it's hard to fully enjoy it knowing authorial intent (and reading it all within the context of the sexual violence Akasha perpetrated with Anne's usual lack of nuance). That's kind of par for the course though, most things in VC are Almost Good and that's what keeps us on the hook.

[kittenintheden]

You know when Astarion disapproved the idea of saving the torture victim in Act 1 I was shocked but then I realized Act 1 Astarion is still in the “lol better him than me” phase since he was just freed from his enslavement and his highly competitive relationship with his siblings. The empathy was tortured out of him. Makes sense in later acts he approves some acts of charity, like helping a kid out.

god anon u right

the way Larian made all of these characters so... rich, you know? they all have such compelling, complicated backstories that don't make for many easy answers from an RP perspective. and the depth in the way that every unique choice can affect the narrative. when Larian said there were 17,000+ possible unique playthroughs, they weren't fucking around.

not only that, but you can SEE the character progression in each companion throughout the arc of the story. they all LEVEL UP. literally and metaphorically. they become more skilled, more powerful, more self-assured. you can RP them to literally become wiser, stronger, smarter. and you get to see so much of that even if you AREN'T romancing them, and if you are? then you get all that PLUS ADDITIONAL DEPTH AND CONNECTION.

so when we see little details like this that aren't fully spelled out in the narrative, we can still intuit exactly what's going on to result in that response. because we know Astarion's whole story, all his Act 1 responses and actions make so much more contextual sense. which adds to the replayability of the game.

idk I just aaaaargh the WRITING in this GAME is what inspired ME TO WRITE AGAIN and ENJOY DOING IT AAAARGH

[mdhwrites]

I was thinking your takes of how TOH fails at making a bigotry allegory with the witches that I can’t help be reminded of this post regarding Netflix’s The Dragon Prince (I’m not sure if you watched the show): https://www.tumblr.com/chronicallylatetotheparty/757857588414152704/i-think-western-media-has-relied-on-non-human

The writers of both TOH and TDP have far more interest on [insert magical creature]. They’re unintentionally bias that narrative reflects on it.

They make humans look worse than [insert magical creature] for reason that justified (in TDP villagers attacked a dragon who was harassing them for days and TOH have witches eat babies in the 1690s while they have a main villain be against witches and was probably in the same time period). They ignore certain details that make [insert magical creature] look bad and result in messy world building and messages (in TDP there was a reference to the Trail of Tears that the humans have to endure from the elves and dragons and in TOH witches sees humans as inferior).

Amphibia actually doesn’t ignore that the fantasy creatures can be messy. In fact they have Anne deal with being treated like a freak because the frogs never met a human.

They have Andrias and the Core be the bad guys who attempted to take over Earth. They considered humans as lesser beings because they have knowledge, power, and technology humans don’t have.

Amphibia is by far the only recent fantasy story that is willing to let the magical creatures be flawed and their society changed.

So I think you and the blog you cite are actually two very different points. The blog you linked is about lazy recycling of tropes from better media to the point where we have stopped considering what made those tropes powerful and those stories impactful. Anime is also facing a problem of this but when you try to apply it to more allegorical elements, like trying to use non-humans as an oppressed underclass (something even most classic fantasy fucks up in a number of ways) you get some really abhorrent, accidental undertones.

Your complaint on the other hand is... A little hard to tell if I'm being honest, especially since the TOH stuff (I haven't watched TDP) appears to either be VERY arguable (the Isles does not give a flying fuck about humans, positive or negative) or seems to be taking words that I assume either were said as a joke or by Belos, the bigot, about witch behavior in the past. "They eat our babies" is just about as stereotypical of bigot speech from someone who's a moron as you can get.

And I keep trying to find something to grab onto with your point and I'm just struggling. Honestly, it just sounds like the general complaint of 'smart' stories actually being dumb as rocks. The stories that can actually tell a complicated narrative that portrays every side properly in a conflict is extremely rare. This is how you get TOH being so pro-self expression that acknowledging ANY societal requirements, or any amount of engagement with 'the system' is portrayed as negative when like... Luz assaults people in the first five minutes as part of her 'self expression'.

It is preachy and lazy and leaves these cultures with no actual culture because they are there to make a statement. A lot of sci-fi struggle with this because of The World of Hats problem where they want to comment on one type of person so an entire race is just that type of person, like the ever present Warrior Race in all speculative media. It is the storytelling equivalent of writing an analytical piece with the conclusion set in stone. Your ability to make the piece properly will inherently be tainted.

I haven't watched TDP but for TOH, this is how you get Belos' death as it is in the show. Belos claims that humanity has mercy. Has sympathy. That a human is moral enough that if they see someone in agony, they will be compelled to save them, unlike these witches. However, the thesis behind TOH is that witches are good and people like Belos are pure evil. As such, he is written lazily and so are the witches. Belos' speech is 100% just recycled from elsewhere. A final plea to a hero to be saved, with the witch response being a badass one liner or meant to be one that makes them look cool and superior. It plays to the thesis and 'theme' of TOH... Without examining the details for even half a second because if you do, yeah, they're rancid. This race accused of not caring for other people or their lives just agrees with the villain before proving him right by stomping him to death. This isn't saying that Belos should have lived, absolutely fucking not, but that someone who was worried more about their point, who was being careful about their allegories, might have made it so that instead of glee, literally one of them calls murder 'satisfying' which... Dear god why? They might have made it horror, or hesitation or a dozen other emotions that do have this race thought to be monstrous consider reaching out to this man who has hurt them so much. That in his final moments, Belos would be proven wrong because while they hurt him and so they could never forget, they at least provide him with mercy. Genuine empathy that he never gave them despite everything he's done because, you know... They're good people and not what he thinks they are.

But if you are certain about your message, entirely unquestioning... Why would you do that? Not when you can do the 'subversive' thing despite the fact that these tropes exist for a reason and subverting them might not happen a lot for a reason. That some plot beats are just mandatory for the sake of making your point function. It is being a confident dumbass about your story because you're never going to blink as far as questions on how well you did go.

But do you know what happens when you don't blink? Irritation, which sure seems to be how people feel about these mixed messages. See you next tale.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[onlyymirknows]

What are your headcanons for Reiner coping with Bertholdt’s death? Do you think he actually has the time to grieve during the timeskip or is it only post-Rumbling that he allows himself to fully embrace what happened?

Hello! Thanks for the ask, this is my first on this blog 💖

I think he theoretically has the time to grieve Bertholdt during the time skip but I don’t think he actually does. Reiner’s main methods of dealing with emotional stress are repression and distraction. He basically ignores his problems by occupying his mind with something else.

And Reiner is presented with a really compelling distraction when he returns to Marley:

Fighting for his life and reputation in a brand new war is the perfect distraction from what happened on Paradis. Not just the presumed deaths of Bertholdt and Annie but also his immense guilt over the things he did.

I think the fact that he resorts to suicide the moment he’s confronted with the idea of going back to Paradis is a good indication of how little he’s processed his emotions.

That said, he doesn’t react strongly when people mention Bertholdt which tells me that he’s accepted it factually. But in my head, Reiner hasn’t bothered to confront the emotional reality of the loss (among a ton of other things) because he’s got his finish line.

In addition to that, there’s nobody for him to talk to about Bertholdt in Marley. Everyone back home only knew 11 y/o Bert, not the 16 y/o he developed into. Reiner also can’t admit to the fact that the two experienced a big shift in their worldview together (eg- island devils don’t exist.)

So it wouldn’t be until after the Rumbling that he has to contend with a lot of his unresolved trauma, including the grief of losing his best friend. (And potentially his love interest/boyfriend depending on who you ask.)

Best case scenario is his friends/family proactively encourage his healing and don’t let him run away. Worst case scenario, he goes full distraction mode (my HC is workaholism) and won’t admit there’s a problem until he falls apart.

Some talk about my relevant long fic below the cut

My fic is gonna be about the worst case scenario because I want to dig into the emotional aspects of his character. Namely his unresolved grief, childhood emotional trauma, and queerness.

Plus I want to write about how trauma feels, having been on my own healing journey. It’s kind of a vent fic that spun out into a full narrative that I really need to write an outline for lol.

It’s gotten a bit complicated with multiple POV’s/plot threads so I’m taking my time. I watched a video recently talking about the pitfalls of serialized fiction. I’d like to avoid some of the bigger ones, namely putting in scenes/details with no narrative purpose.

Not everything needs to be Chekov’s gun but I’m sure you know how it is 🤭 so an outline is gonna help a lot. But I feel pretty good about the main story beats! I could talk about my fic a lot more but I’ll leave it here.

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, Pt. 2

Back at it again with part two of some scenes to consider adding for a romance subplot. Before we get into it, just a brief reminder that everyone’s story is different. Take that as you will. I find these helpful for planning and keeping a solid foundation for a compelling romance. There's probably a lot more I'm missing out. Some of these tips, I'm thinking, could even be helpful for writing a platonic friendship, in cases like making mistakes or helping each other through tough times.

If there's anything you would like add or share about this process or some of the things that have helped you, let me know! ~

- Moments of intimacy:

This is rather similar to our last point about flirting, but what I’m trying to get across here is the things that are not said. The unspoken. The unmentionables, if we wanna go there. But I’m getting ahead of myself… this is the kind of scene that can be built up gradually as the romance between your characters grows and deepens. Moments of intimacy in a romance subplot involve deeper and more meaningful interactions between the characters, showcasing their emotional closeness. They include physical closeness, such as hugs, touches, or moments of shared proximity. 

It doesn’t have to be all touchy-feely, either. These scenes also might include gazing at the stars, a shared adventure, a sudden desire to reach out but chickening out at the last second, or a quiet moment of understanding during a tough situation. These gestures can convey a sense of comfort or safety. Intimate moments can also build anticipation and tension in the narrative, where readers may eagerly await these little, momentous moments as they read and become more invested in their relationship. 

- Helping each other out:

Nothing get me more invested in a romance than those moments where the characters offer support, assistance, or guidance to each other, thus reinforcing their bond and showcasing the strength of their connection. Also, while helping each other, the characters can also encourage independence and growth in each other. They can encourage each other’s goals and aspirations, allowing each other to maintain their own unique identity within the relationship. 

The characters could also perform acts of kindness, be it big or small — showing to the other character how much they care without explicitly stating it. There’s an element of vulnerability that can be explored here, in which the characters share experiences and insights good and bad — offering each other solace during hard times and joy during the best of times. 

Some examples!

- Character A solving a problem in a way that only they would know or character B wouldn’t have thought of in the first place. 

- Character B being understanding and listening without judgement to A’s opening up and venting.

- Character A offering support and clear-headed advice to B, who tends to get irrational. On the other hand, B standing up for A and protecting them from harm. 

- Character B teaching a new, valuable skill to A, thus providing great opportunity for them to get closer and connect. 

- Mistakes or misunderstandings:

Like many others, I’m not a big fan of miscommunication in romantic arcs … unless they’re resolved quickly (because they tend to be predictable, sometimes, or just frustrating when there's every opportunity for them to reconcile but they're ignoring it because drama).

Ahem. But, characters should be allowed to make mistakes and learn from them. It’s realistic, because who hasn’t made a mistake at least once in their life? Not every budding relationship is ever perfect. It’s rewarding to see characters learn from their errors and work towards a mutual understanding or reconciliation. This helps to show their emotional maturity and resilience, especially if its gradual or important for their character arc.

Narrative elements that introduce complications (often arising from bad impressions, flaws, insecurities, awkward moments, mistakes, or even just being at the wrong place at the wrong time) can add tension to the relationship while providing space for growth. When used right, this can add deeper strength to your characters’ bond as they eventually overcome the bumps along the road of romance. It’s always interesting to see how characters might react in certain situations, for better or for worse. This is also a great point as to force your characters to confront their true feelings and be able to recognize them or communicate them better.

- Declaration of feelings:

Finally! The moment we’ve all been waiting for! This is the special moment where one or both characters express their romantic feelings for each other, marking a significant turning point in the subplot that often dictates how the story would then play then on out. Think about how you want your “declaration” scene to play out and what emotions you want to invoke. Is it elation? Anguish? Confusion? Excitement? Sadness? I mean, not every declaration scene has to be perfect. It all depends on the story you’re wanting to tell, how focused you want your romantic subplot to be, and what your characters are like. 

Also consider how your characters are feeling in that moment and what brought them there. Have your characters been waiting for this moment for a long time now? Is it risky? Easy for them to declare their feelings out loud? Could it also be just not the right moment, so hopefully later their love will be fully understood and reciprocated? Just some helpful things to consider. 

[literary-illuminati]

2024 Book Review #62 – Mammoths at the Gates by Nghi Vo

This is the latest in my now-extremely-belated attempt to read all the nominees for Best Novella from this year’s Hugos (only need to hunt down a copy of Seeds of Mercury somewhere now!) It was a well-done, enjoyable read – nothing to change your life but, frankly, would have been far more deserving of the prize than Thornhedge was.

This is the fourth in the Singing Hills Cycle, following the itinerant archivist-monk Cleric Chih as they travel across a vaguely Chinese fantasy setting collecting histories and folktales to be collected into the monastery archives. After nearly three years walking the earth, they return to the titalur monastery itself to discover Cleric Thien, a very senior cleric and their own mentor, has died in the intern. Of more pressing concern, two members of their family are outside the gates – one of them a corporal in the Imperial Army with her command of two war-mammoths – demanding their body turned over to buried with their family and ancestors instead of interned in the monastery catacombs. And if that wasn’t enough of a complication Myriad Virtues, Thien’s companion neixin, has been driven to self-mutilation and a total withdrawal by her grief. It is, needless to say, an eventful funeral.

For all that, it’s not a particularly exciting novella, let alone an action-packed one. It’s very much, and very consciously, About Grief in a few different ways. Compared to earlier stories in the series, the narrative is far simpler, with none of the playing around with framing devices, unreliable narrators, or stories-within-stories that have kind of been the cycle’s trademark until now. The freed up space is instead used to make Chih far more of an actual character than they have been previously, rather than just a cipher to experience the narrative happening around them.

I do find myself slightly annoyed at the book because having set out such a genuinely messy and compelling conflict – both on the level of ‘who gets to decide what funerary traditions to follow and where the body is kept, the religious institution or the aristocratic family?’ being the sort of thing that has absolutely started wars, and with ‘who decides how someone should be remembered and grieved, their family or the people they choice to build a life with’ being a theme with a certain amount of contemporary resonance even without the whole thing where clerics are universally refereed to as they/them and Thien’s granddaughters kept insistently referring to them as a man – the book gave itself an easy way out on several different levels. But that’s just me being irritated it isn’t a different story entirely – this is a gentle, elegiac story; the central emotion is the melancholy of quietly organizing a loved one’s things after they’ve passed. On that level it works quite well and is even beautiful at points.

I’ve said before that this series would adapt near-perfectly into a high budget miniseries with a 40-60 minute episode per novella, and I stand by that. If anything, it feels like it’s only getting more true. It does feel like a bit of a loss, though – maybe I’m remembering it as more than it was, but I think Empress of Salt and Fortune had a level of thematic and narrative ambition that all of its sequels have kind of lacked. This and Into the Riverlands especially feel like they exist in a different and...shallower? Simpler? Clearer? Register than the first two entries in the Cycle.

Ah well. It would have to far a long way before it was even in the conversation for most disappointing book I read because of a Hugo nomination. On balance, lovely read with a dog cuddled up beside you on the sofa.