#Fantasy again because MAGIC

[chuuzihangg]

Ty @nsk96 for the tag

hardcover or paperback? bookstore or library? bookmark or receipt? stand alone or series? nonfiction or fiction? thriller or fantasy? under 300 pages or over 300 pages? children’s or ya? friends to lovers or enemies to lovers? read in bed or read on the couch? read at night or read in the morning? keep pristine or markup? cracked spine or dog ear?

[allthecastlesonclouds]

hi something something bad kids all magic users now something something everyone learning how to save each other something something they've all got friendship bracelets and they're gonna make it through this year if it KILLS them

[nightswatchdisbandmentera]

I personally don’t mind the reveal that Aegon the Conqueror was motivated by dragon dreams about tptwp/war for the dawn; I actually like it quite a lot. Mostly because I like how Aegon’s legacy basically becomes: the unification of the realm and its peoples (a wholly positive thing) AND the iron throne (which has become a symbol of war and destruction). Aegon brought the realm together, but he also created that stupid pointy chair. The irony is that this chair, made of swords from all over the realm thus being a representation of all the different peoples in Aegon’s new kingdom, is meant to be the symbol of peace and unity. But in the current story, it’s become the driving force of disunity. And now hundreds of years later, now that the real threat that Aegon dreamed of has actually arrived, the realm is much too focused on who gets to sit on the silly chair more than anything else. Which imo would fall in quite nicely with GRRM’s deconstruction of prophecy, how people interpret it, and the ripple effects from those actions.

[campspawn]

yknow i know a lot of people are upset about cassandra dying which i get. BUT. i can’t fucking wait for kristen’s ‘my deity is dead i’m a cleric and i’ve killed TWO gods in rapid fire succession what am i gonna fucking do’ arc because i think it’s gonna be the best kristen arc yet

[crimmsonflower]

shoutout to the writer of my favourite lawlight fic to ever exist

killing my self because I forgot to save it and they deleted the fic

[hanzajesthanza]

the witcher official cookbook is good of course, but i am fully aware of myself that i bought this not for its recipes, but entirely just to read maybe like, a little less than four pages of sapkowski talking about how much he likes making soup

[yume-fanfare]

*hits you with a magic school shoujo beam*

[adaines-furious-feast]

Going back through Sophomore Year, it's easy to see why (my version, at least, of) Arianwen Abernant fell in love with Cassandra.

To me, Arianwen is a wizard obsessed with figuring out magic, working out how it works on the atomic level, unravelling every mystery she can get her hands on including a wild magic sorcerer. And here is a wizard (or wizard adjacent) goddess of mysteries, who is herself a mystery. I can see Arianwen seeing herself in this then Nameless Goddess, and seeing how much she could understand and learn and unravel with her. I think, as a wizard, Arianwen wouldn't normally be open to the idea of worshipping a god but this one she can get behind.

[mokeonn]

I think that the 2010's media landscape of Buzzfeed articles about plotholes in disney movies, Cinemasins critiques, and Watchmojo Top Ten scenes in movies that make no sense has truely ruined a lot of media. People are afraid that their work will be torn down if they dare leave a single thing up in the air, if they dare ask their audience to suspend their disbelief.

All too often nowadays I see stories (especially fantasy), take the time to explain how every small aspect of the world works and how it all logically makes sense. The constant time stopped to explain why an event happened, how this object works, or why this is important to the characters. It's just really not needed and it honestly makes a lot of stories worse.

I am of the opinion that the best stories truly just drop you into their world and explain nothing. They just take you through the story of this world and you just have to accept it and continue on. "When he became king, the land became barren." I don't want the story to stop and explain why this is, or how it happened, I want us to move on so we can just assume that the king has such rancid vibes that everything died.

[icewindandboringhorror]

I have a big google doc thing where I keep track of media and stuff (putting everything in loosely ranked categories), which is mostly just for my own reference so I know what tv shows I've already seen before, etc. and I never really look back through it, typically just a quick "okay, watched two movie in the past 8 months, need to quickly slap them somewhere in the lists. okay. done. save document. exit". But today I was actually reading through some of the old notes and there are like... MULTIPLE places where my comment is basically "It would have been good if it were about elves" or "I wish there was a fantasy show made in this same style" or "It's well made, but I just keep thinking about how I would like it more if everyone was an elf or was in old 1700s costumes" or etc like...... lol.... Most biased media ranking system on earth blatantly made by someone with an extremely hyperspecific range of narrow interests. It'd be like if a food reviewer only had 5 foods they actually liked, so they'd just go to a pizza place and be like "eh, the pizza was okay, but I just think it would be better if it was cereal instead. :/ ...2 out of 10"

[spartalabouche]

i miss when tv shows and movies didnt need to justify the logic of the universe and lore to exist. why do we need to know why something is so so small or how goblins exist or why magic is real. why cant we just live in the moment. everything is too obsessed with making sense. just be sillay

[coquelicoq]

it's interesting, a few people on my post yesterday about the dandelion dynasty told me they were taking it as a rec for the series, but i didn't actually recommend the series in that post. it's making me think about whether i would rec it to people, a question i hadn't fully considered yet (as it is a very different question from "do i like this book?"). so this is me figuring out the answer to that question. i'll keep it spoiler-free (though i make no promises on brevity).

i just finished book 3 (of 4) and each installment has left me more invested than i was before, but the series started out very slow, and i didn't really get into it until halfway through book 2. i wouldn't be surprised if a lot of people bounce off the first book; i didn't, but only because 1) i almost never give up on a book that i've started (it's a character flaw of mine 😕) and 2) my trust in ken liu is ridiculously high because the other stuff i've read by him is so beloved to me. so my reaction to feeling kind of meh about book 1 was "okay, let's see where he's going with this" rather than "i guess this just isn't my cup of tea."

i should say that the problem might just be my own ignorance/lack of familiarity with the form. i don't read a lot of epic fantasy - in fact, lord of the rings is the one series that i have given up on reading a couple of times because it just left me totally indifferent. so if you like epics, you are starting out way ahead of me and can maybe just ignore the rest of this post lol, but i think i had to adjust to what the form is asking of me and what it's best suited to accomplish before i could get fully on board.

the main thing i struggled with is the writing, like the actual sentence-level mechanics of voice and style. this surprised me, because i usually find his writing very beautiful, or, when not beautiful, i can get a sense of the effect he means to achieve by employing a certain style. but in this series, the writing came across as kind of awkward and one-note to me at first, and i couldn't see a reason for it to be that way.* the dialogue especially - different characters don't really have different ways of speaking, they all feel pretty much the same. this was one of the main things i had to adjust to, but i do get it now. i don't just mean that i got used to the style and it doesn't bother me anymore, though that is true; i mean that i now understand the effect he means to achieve by employing this style, which gives it purpose and inextricably ties it to the story he's telling (this becomes especially clear in book 3, as it's directly related to a major theme of that book). if the style were different, he would be telling a different story; that's the sign of a successful execution, i think.

i said in the tags on yesterday's post that one reason the series doesn't have much of a fandom on here might be that the characters aren't natural blorbos. of course every character is probably the blorbo of somebody somewhere, but i don't know that these characters were designed to be blorbos, if that makes sense. not that they're plot devices either! every single one of them is conflicted and complicated and compelling, and most of them are followed over a period of many years, so we see them develop as people over time. but there is no protagonist, for example. you could also say that every character is a protagonist. the "list of major characters" at the beginning of book 3 is six pages long, and there are stories to be told about each of these characters, and none of them are told in isolation. but in a way, the characters themselves are not the point, or if they are, it's in aggregate - it's in the ways they're all complex, the ways they all have motivations that make sense to them (and that make sense to us, once we get to know them). and it's about power and the roles that the characters play in their society, rather than the roles the characters play in the story. or maybe those are the same thing! because ultimately, the main character of this story is the society. and the plot is the history of this society, rather than the journey or life of a single person or handful of people.**

(sidenote, there will be a period during book 1 when you will think to yourself, "wow, all the women characters are super one-dimensional and the narrative doesn't seem to respect them." this is on purpose. just keep going.)

the plotting is intricate while also feeling very organic. he's got dozens of plates in the air at once, he's maintaining them over a long period (these books are MASSIVE), and he's somehow making it seem like a real history, not like an author pulling strings. i haven't finished it yet, but my guess is that he's going to pull off a very satisfying conclusion that's at the same time very open-ended. definitely looking forward to it.

and the worldbuilding. oh, the worldbuilding. this is some of the most detailed, complex, realistic*** worldbuilding i've ever encountered, and he covers SO much ground. you want linguistic worldbuilding? you got it. philosophy? it's here. psychology of empire? coming right up. the nitty-gritty of everyday governance? buddy, pull up a chair. mechanical engineering? how much time you got?? (it better be enough time to read 3504 physical pages, because that's how long this series is.) and he's drawing on chinese history and cultural narratives rather than slapping lipstick on a tolkien clone (see his comments here, but stop reading at "In this continuation of the series" if you want to avoid spoilers). he WILL go on for a hundred pages about a single invention, but it's SO interesting that he is allowed. this is a story about how technology (including language, and schools of thought, and agriculture, and...) shapes, and is a product of, its time and place and people, so again, this is all to purpose. but it's also just. really cool.

the last thing i'll say, and this is mainly for other ken liu fans, is that one of the things i most love about his short stories is how they tap into emotions i didn't even know i had, as though they're reaching inside of me and drawing to the surface ways of experiencing consciousness and love and mortal life that i had no idea were in there. this series is not causing emotional revelation for me in the way his other stories do, which isn't a bad thing - i don't mean to say the series is not engaging or that it inspires no emotions! i just mean, iykyk. if you've read the paper menagerie and are expecting that experience, you will have a better time here if you leave those expectations at the door. i am invested in this book because it's engaging my intellect, curiosity, sense of wanting to find out what else the characters will learn and what's going to happen next...less because it's turning my heart inside out inside my chest. and like thank goodness, because i don't think i could survive four entire 900-page books' worth of that! but anyway. word to the wise.

tl;dr: yes, i recommend it, especially if you like epic fantasy. if you're a fan of ken liu's other work, this is quite different, so just know that going in!

*this opinion is of course subjective and not universally shared. for instance, see this review of book 3 (full of spoilers, so don't actually read it lol) which says "There's Liu's voice to hold onto, though — beautifully deployed here and fully in command of the language of his imaginary universe." so ymmv. maybe it's an epic fantasy thing.

**this is making me realize that the story is commenting on this very thing through a tension between bureaucracy (founded on interchangeability) and monarchy (informed by a specific personality). dude. that's so meta!

***though sometimes i'm like, "really? you scaled up that invention to use untested on the battlefield in the span of like two weeks? sure, jan." so sometimes he falls down a little on translation of ideas into logistics, but it makes for such a great story that i'll allow it.

[weidli]

would be very funny to me to introduce a bunch of americans who are used to the constitution being treated as a gift from god that's very hard to change and is holy Because it's almost never changed and has been in operation in nearly the same form since 1789 to the way the swiss constitution (last total revision in 1999, there have been several hundred direct democratic votes on possible changes to it since 1848, all you need to suggest a change is hundred thousand people with voting power who'll sign the suggestion) works

[mcybree]

considering my brand is bitching about FH all day, sometimes I feel bad at convincing myself wcsmp didn’t end well for scott and milo. Like damn girl leave him with SOMETHING…

[nekioe]

A bit of writing based on the prompts forest and winter (maybe safety?? Forgot about it but it could count?)

Takes place a few days before the disc finale, c!Dream's pov

---

The blanket of white glitter on the ground, the serene snowfall descending from the sky, the dark sky and the moonlight. You stand there, quiet, in the middle of it all. The trees around you whisper with the wind, secrets about the word, the moon and the stars – or whatever trees would care about. You're not sure. The bird who built a nest in its canopy, maybe it felt proud of the safety it ensured.

You stand there, and the world is quiet. Anything beyond this glade is meaningless, forgettable. The wars, the conflicts, the expectations, they don't exist here. You're nothing but another creature in the woods. Like the hare who left its district trail in the snow, like the blackbird staring down on you, like the birch sapling, bending over backwards, weighted down by a thick layer of snow.

You step up and brush the snow away, and so the sapling stands again. You think it thanks you. You think, as you turn around and head back to the more livelier parts of this world, that it wishes you luck. That it wishes you to feel kind of peace again, soon. Come back, it says. You leave the glade and continue your walk through the trees.

The snow continues to fall, covering your tracks, the moon still shines above you. But you're not part of this kind of peace. There will be no time for serenity for you, not in a long while. There is a dark fortress looming over you, it casts its shadow where you walk. It will decide your fate, and you will not fight back. After that, maybe you'll come here again. You wonder if the birch would have grown stronger when you do.

[spitblaze]

I can't find any reliable sources on if 17th-century inns and hotels had individual bathrooms per room or if it was a shared privy/outhouse/chamberpot kinda situation. I kinda assume its the latter but if anyone has any better grasp on it I'd love to know