#GOOD WRITING

[ultraericthered]

Exemplifies so well what makes him a victim of those who dictate this world's cosmic order and also what makes him a villain.

Wanting to get his aggressors who took his beloved daughter away from him to suffer the same ceaseless pain, anguish, sorrow and despair that their heartless actions inflicted upon him is perfectly understandable and not wrong of Aaravos, especially if it's coupled with justice for all their other victims. But in making that wound he yearns to inflict and the hatred that drives this yearning the focal point of all his schemes and deeds, he completely looked past any and all available less unethical ways for him to improve the world for humanity so that the order could still be defied and there'd be less suffering under the Xadian overlords, and going to the extremes that he instead chooses to go to means that a countless amount more people with nothing to do with him and his vendetta will be made to hurt, all sharing in a suffering that they didn't even deserve. Which Aaravos knows: he simply can't find it within him to really care.

Incredible villain. He's often the worst, yet also deserves the best given what he's had to go through and the darkness he lives with.

As much salt as i have with s7 this line is so fucking good:

I want to make them hurt. Because they struck a wound in me so deep, that it will never heal. To survive such a wound is to suffer forever and i want them to share that suffering. I want them to hurt.

[writerofstuff]

Dead Boy Detectives was surprising.

It surprised me when, instead of Crystal dropping in and fracturing Charles and Edwin's thirty years of friendship, they went with Crystal sinking into the fold of Charles and Edwin's friendship and becoming an important and unique addition to the group.

It surprised me when, instead of Gay Boy Pining Over Straight Best Friend, they went with Gay Boy Realises Feelings For Straight Best Friend And Confesses Almost Immediately with a bonus of Straight Boy Accepts Confession With Surprising Grace And Nothing Changes, Not Really.

It surprised me when, instead of making the female characters repetitive and semi-rational and ultimately less powerful, they went with characters who are smart and selfish and kind and cruel and strong and flawed and oh, they happen to be female too.

It surprised me when Charles liking Crystal did not affect one bit of how much he loved Edwin.

It surprised me when Jenny talked about spinsters with cats and Niko did not bat an eye.

It surprised me with Edwin and Niko. It surprised me with, we have forever to figure the rest out. It surprised me with Crystal's kindness, Jenny's empathy, the casual and absolute, the good you do will come back around.

Dead Boy Detectives was surprising. One day, I hope I can sit back and watch another show and none of this has to be surprising anymore.

[a2zillustration]

Buddy we literally JUST read a scroll about hubris AND you were just inspired about something called "Don't let history repeat itself," that 10 wis stat is really coming through.

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[supremechancellorrex]

Avatar in my head and I was thinking about Maiko and Mai.

Now, Mai's character arc in Avatar, from my interpretation, is rediscovering herself and her wants and personhood that has been stripped from her as a noblewoman part of a family that submitted to the Fire Nation Imperialist structure and Ozai. We see in Book 2 set up for this. Mai in early Book 2 does not resist Azula's will aside from brief sparks of rebellion where she isn't present. "Of course not, Princess Azula" she notes formally and apathetically when Azula asks if she "minds", knowing she has no choice as Azula 'just' ponders if Mai's hostage brother is worth an Earth King like Bumi. Mai is always aware that Azula, as Princess in an authoritarian nation where the Fire Lord is God, can have her executed and her family punished. The unequal power dynamic is surprisingly consistent in the show.

Mai can't even insult Azula back in Zuko Alone as a child. She just lets Azula put an apple on her head (as Ty Lee loyally sniggers along), set it on fire, and when Zuko pushes her into the fountain to put it out, Mai, drenched, glares and says "You two are such… ugh". We know Mai can have an acid tongue, yet her fear of Azula prevents her from using it. Her most rebellious act in Book 2 is when she says "She can shoot all the lightning she wants at me. I am not getting in that wall sludge juice". Mai actually has self-respect, but she can't express it in the presence of greater threats, meanwhile Ty Lee merely says "Come on! Azula said we have to follow them", because Ty Lee follows Azula's will even when she isn't there.

Even when Mai gets with Zuko, she falls into a subservient role. When Azula interrupts Maiko's smooching, lazily dismissing Mai with "Oh Mai, Ty Lee needs help untangling her braid" Mai responds quickly "Sounds pretty serious" with only a touch of dryness and leaves, only able to muster throwing Azula a dirty look a split second after passing her. However, this little ember of rebellion will grow.

Mai has continued difficulty understanding Zuko's anger and reactiveness, or how to even function in a relationship. She initially tries to joke in a dismissive fashion, as if saying 'ugh, feelings are lame, right?', but that would only work with Azula logically. The Beach episode is a key Mai episode. She continues to be emotionally repressed, to the point Zuko, Ty Lee and Azula comment on it. However, Zuko's insecurity at her talking to Ruon-Jian to the point he physically removes him from her presence, and his accusative comments like "You like him, don't you?", also makes Mai feel a little boxed in, controlled, and that does irritated her given her history. However, at the Beach's emotional narrative climax, Mai is able to finally express herself at the rest of the group (Azula included) for the first time, telling them to "Leave her alone" and that she's "still mad". After Zuko explosively reveals the extent of his pain and confusion, we see a 'smoothing' effect on her attitude. She realises her and Zuko are dealing with pain in different ways and his way is understandable.

Mai says softly, "I know one thing I care about, I care about you". This is the one thing Mai can grasp in the confusion. This is where Mai betraying Azula becomes inevitable. We see Mai continue to be more supportive with Zuko, more actively trying to cheer him up in Nightmares and Daydreams with big smiles and jokes while Zuko remains shut down over the War meeting and is acting irritated and repressed due to his family trauma. When Zuko later leaves and joins the Avatar, Mai is hurt and angry, which shows in the Boiling Rock, saying "All I get is a letter? You could have at least looked me in the eye when you ripped out my heart". They have a tense conversation, but it's their most honest one. I actually think Mai already made up her mind in this scene to support Zuko over Azula, and she doesn't quite realise it. "Save it? You're betraying your country" she accuses, to which Zuko replies, resolute, "That's not how I see it", and in response Mai just folds her arms and turns her head away in an almost defeat.

I find it very telling she doesn't respond. It's because she realises Zuko is more passionate and resolute about his mission than she is hers. It's because she knows the Fire Nation under its current authority is not exactly great. Sometimes in life we fall into a box and we need someone to give us that little push so we can realise we can climb out of it, that the toxic space we're in isn't normal, and we don't have to tolerate it. I like to think Mai was thinking in that moment where Zuko locked her in the cell and he and she gazed into each others' eyes, what she was really thinking about was what life she actually wanted to live. She was thinking of Azula and being under her thumb, and she was thinking of all those moments with Zuko, like when they were lounging on the sofa together, smiling and joking in Nightmares & Daydreams, and she realised how ridiculous it was to be afraid of Azula killing her when the real fear should be being Azula's servant until her dying days, decades of repression and misery.

After all, what does Mai have left to fight for? Fear of Azula? Hah, what a joke. She remembers "I know one thing I care about. I care about you" and when she sees Zuko about to die she has to intervene.

"I guess you just don't know people as well as you think you do. You miscalculated. I love Zuko more than I fear you" Mai says to an increasingly-enraged Azula's speak of 'consequences', because Mai did fear Azula, but now in her love for Zuko she has found a purpose she has been lacking, her feelings and wants over Azula's will. Zuko being true to himself is contagious. Iroh's love for Zuko puts him on the right path, and in turn the love Mai has for Zuko saves her. As a consequence Ty Lee chooses Mai and their friendship over Azula's toxic, fear-based one and even later bonds with former enemies like the Kyoshi Warriors. Like Zuko says to Ozai, "an era of peace and kindness" will replace an "era of fear". In the face of fear, love and empathy win.

[thewaspsnestinyourattic]

despite jon literally not being entirely human for the majority of the show, he's one of the few main characters I've seen portrayed in a way where it's like "you know what? yeah, that makes sense."

his actions aren't always the most moral or heroic, but they are the actions of a regular guy who is just trying his best. he gets scared and angry and obsessive and sometimes he does stupid shit. he's also willing to go to extreme lengths to keep the people he cares about safe.

all of the characters in the magnus archives have that human feeling about them but I feel like it shows the most in jon and martin. they love each other, and clearly they love each other deeply, but they're not willing to doom the world over it.

everyone's feelings are messy and twisted up and perfectly written. if you pulled a normal guy off of the street and made him the avatar of a fear god, he probably would have a reaction like jon's.

[amorphousbl0b]

Arcane does a fun thing with its narrative Darkest Hour.

Or: yet another post about how insanely smart this show is and how absolutely genius its writers are (and how jealous of them I am).

For the uninitiated, the Darkest Hour is the moment just before the climax in which the heroes are at their lowest point. When the Avengers are scattered and Loki opens the portal in NYC, when the Falcon has escaped the Death Star but lost Obi-Wan, when the Fire Nation is set to annihilate the Earth Kingdom, when Frodo fails to destroy the Ring at the Crack of Doom. The heroes must confront their flaws and change for the better for a happy ending.

Arcane’s darkest hour is, of course, in Act 3. One might place it at the very end of episode 9, and that’s certainly where the story is at its most hopeless. But I’d contend it starts as early as the end of episode 8 and carries on through the entirety of episode 9.

After all, that’s when Caitlyn and Vi have separated, lost all hope, and Cait is kidnapped by Jinx. Jinx’s mind is fully gone and throughout the episode everything falls apart around her. Silco is losing control of his chembarons and may well have lost his daughter, the thing most precious to him, and is only barely keeping his powerful façade in line. Zaun has realized how ridiculously outmatched they are in a war with Piltover and the revolutionary cause has become almost impossible. Viktor has manslaughtered his assistant and may never be cured. Jayce has manslaughtered a child and finally realizes how quickly he’s losing his morals. Mel and her mother are fully separating and she is struggling with her warlike destiny. Sevika gets the absolute snot beat out of her and limps to an empty office without a boss.

So yeah. Lot of personal Darkest Hours going on.

“But what’s the interesting thing?” I hear you ask in my ear. I don’t know why I hear you. Shut up. I’m writing. Are you even real?

Excuse me.

Arcane’s interesting twist on the Darkest Hour lies in part of the trope that I didn’t mention. That’s in the villain.

Most stories with a clear-cut villain have a plot structure something like this:

Whether things are going well for one side is inversely proportional to the other. During the Darkest Hour, when the hero is at their weakest, the villain is at their most dominant.

Wait… isn’t Silco the villain of Arcane? Not to be too blunt, but he’s having a shit time. Things are falling apart for him just as badly as for everyone else.

That's the trick. Caitlyn and Vi are suffering. Jinx is suffering. Silco is suffering. Jayce is suffering. Viktor is suffering. Zaun as a whole is suffering. There is only one party in the whole story that isn't suffering, that actually is benefitting from this horrid state of affairs...

EKKO AND HEIMERDINGER

Kidding. They're not really a part of this dance. A big part of Arcane's theming is that acting to help people without an agenda is simply more virtuous than fighting for any invariably-flawed nation that innately perpetuates the cycle of violence.

No, the side that is doing fine is the other that is conspicuously absent from my two prior lists. While the characters that make up its leadership are experiencing personal Darkest Hours, the organization itself is essentially on top of the world, having just scored a huge victory and getting set to bring the war to an end before it even begins. I mentioned how poor the situation for the Undercity looks, but not its counterpart.

Piltover.

Wasn't it so that Piltover started this whole mess? Didn't their oppression cause the revolt that orphaned Vi and Powder's parents? Isn't it their actions that drive Silco to ever greater extremes? Isn't it their normalized political backstabbing that causes Jayce to sacrifice his principles because that's the only way to get ahead? Isn't it their corrupt police force that lets Silco operate his drug empire with impunity?

Silco might look the part. He might be the most personally evil character, might be the one who causes the most misery for our main protagonists Vi and Powder.

But structurally, the shining city of Piltover, its political machine, and its Enforcers are the actual villains of Arcane.

[artist-issues]

When Simba runs back into danger to help Nala in Act 1

but then in Act 2 he won't go back to the Pridelands to help her

because he used to have a little "self-sacrificial assumption of responsibility" like his father, but then he forgot who he was.

[bibliophilesince2003]

Strong Female Characters

Too many times I pick up a new book to read, but I am immediately met with the female protagonist whose personality is "toughness" and/or "meanness." The equivalent is making a "bad boy" character and calling it a personality. Male or female author, anyone could fall victim to this trap.

Skills and tropes are not personality.

Sure, it's easy to mold a character to snap at everyone in an arrogant manner at every dialogue opportunity and call it a day, but the character remains shallow. Especially for your main character, you should have multiple "words" to describe them. This will bring ease to your writing, too.

For example, for one character of mine... I've put down 18 personality traits in her character chart, and I could likely put down more if given enough time.

When I'm met with a "tough" female protagonist, I'm always expecting more details. What sort of people or what kind of environment makes her stiffen, and - this is as equally as important - what sort of people or what kind of environment makes her relaxed? Being "tough" is more about mood than personality, because surroundings could easily change it.

Is she driven or shy? Is she humorous or serious? Is she observant or a free spirit? Is she clumsy or graceful? Is she friendly or cautious?

Notice how I said "or" and separated the two extremes. You cannot have clumsy and graceful... you must pick one side of the spectrum. A person will naturally lean one way or the other.

Some people make the mistake of choosing the other "extreme" to create weaknesses. "She's driven, but she's shy." Being shy is not a weakness... some people are naturally this way, and there are benefits to being shy.

Find weaknesses within the "extreme" you've chosen.

For example, if one is driven... the weakness is impulsiveness. She may get in trouble, or trouble will find her. Being over-zealous is fine... in doses. Let your character make those mistakes to better represent their personality.

If you're struggling, observe the people in your life. Personality will shine through how a person acts, treats others, talks, etc.

Here's what I do... write down multiple personality traits, decide how extroverted/introverted he/she is, and settle on a single word that wraps up his/her whole character, or most of it, to help refer to something simple during the writing process.

And no, that "single word" better not be a skill or trope.

I want complicated female protagonists again, ones that are more than just mood swings or their environment.

[swan2swan]

Yeah, Brooklynn always does great on her own. Absolutely devours it every time.

[where-dreams-dwell]

Just finished The Fall of the House of Usher and wow I have thoughts.

……….

Verna is fascinating!

My interpretation (I have read literally NO Poe so sorry if this is obvious) if that Verna is a personification/demon/something for Choices and Decisions.

When she first meets the Ushers she offers them a choice: here is a possible outcome of the decisions you’ve already made, which might well happen on its own, but would you like to *ensure* that it happens? What would you choose to give up to get what you want? I don’t think she’s *creating* this outcome (as it’s literally what Madeline said would happen while they bricked the CEO into the wall) but she’s saying she can make sure certain possible outcomes are the only ones that happen.

Death and killing might be part of her powers but at least in the case of the Ushers she’s only killing the children because the deal was none of them survive Roderick.

I think her deal with Madeline and Roderick is a mix of be careful what you wish for as you’ll get it in unexpected ways, and exposing their own hypocritical choices. The Ushers believe they are entitled to the company due to their father, that it is their legacy, that if he had only acknowledged them and planned for them to continue the company in their name they would have everything they deserve. But in order to get that legacy, they have to behave in the exact same manner their father did, and think only of themselves while not plan to leave anything for their children.

Verna even offers choices to the other people we see her interact with.

For Perry she reminds him he could choose to stop recoding people, choose not to peruse his brothers wife, choose to end the party. It’s not too late. Even at that party when she tells Morelle to ‘leave now’ it is still a choice, one Morelle doesn’t take which leads to its own consequences. And in the run up to the party we’re shown so many moments when Perry could have chosen differently and the outcome would have been different: having the party at all, inviting Morelle (he turns away and then back to offer her a ticket), Napoleon saying he’s better than this and doesn’t need to become a drug pusher, the building not having water and so choosing to use the assumed water on the roof… right up to the last moment when he chooses to give the signal for the sprinklers to go on.

And her conversation with Perry Verna almost admits it: the series of decisions which lead to him, some small ones, a big one, and then another smaller on and now here he is. Choices he wasn’t involved in have led to him being there that night. And she loves bad boys because they always make all the wrong choices.

For Camille she refuses entry to the lab multiple times and offers her the choice to turn around and go home: it won’t change her fate as she’ll die either way, but if she goes home she’ll die in her sleep instead of being torn apart. She doesn’t *need* to see everything with her own eyes, she already has the proof. But Camille chooses to revel in her sisters shame, to twist the knife, and so she dies painfully.

And Napoleon is told the cat he wants to buy isn’t for sale and to choose to go back home to his boyfriend (and likely confess his actions) but he pushes through with his money and demands that he should get what he wants. He even has a moment within his confrontation with the cat when he thinks this might be a drugged hallucination, but instead of stopping or calling his boyfriend he continues to destroy their home.

Victorine also gets choices: the file of perfect patient data is handed to her but she doesn’t have to call Verna back about the human trial. Verna asks at multiple points if this procedure is safe, if the surgeon has agreed, even if her patient data is safe in this clinic. And Victorine chooses to lie at every opportunity, chooses to sacrifice this woman’s life in the pursuit of her dream. And so she is haunted by her lies, driving her to a more gruesome death than necessary.

For Tammy Verna shows her how to make better choices from their first meeting: we only saw one other sex worker play out the fantasy scene pretending to be Tammy but their interactions with Bill were surface level. When Verna appears as Candy she plays fake-Tammy as caring about Bill, showing Real-Tammy how she could be a better partner from the get go. Verna compliments his cooking, says she’d been craving his ‘famous chicken Alfredo’, asks about his work earnestly and listens to his replies. Even later, when she is Tammys hallucination double, she keeps showing Tammy how she could choose differently: Bill would probably set your fight aside considering another sibling has died, you could call him? Bill would probably be concerned about your health, you could apologise? And after her breakdown Verna pretends to answer Bills call (which Tammy had thrown across the room) and apologises to him for how he’d been treated. The whole time Verna is telling Tammy ‘it’s not too late, you could choose to be kind, you could choose to make yourself happy’: like Camille it wont stop her inevitable death but it could have been easier. And again she didn’t have to die in this manner, she could have gone in her sleep but her chosen treatment of Bill and her own guilt over her decisions has been keeping her awake.

For Frederick, Verna even admits that she has chosen his manner of death *due* to the choices he made: he would have died in his car from a heart attack but he chose to take his wife home, chose to torture her, ‘chose to pick up the pliers’ and so here are the consequences of his decisions.

For Lenore, the only innocent in the whole family, Verna wants her to know that her *choice* to give a statement, her choice to break with her family and get her mother out, will have lasting consequences. That Lenore’s decision will have changed the world.

That Verna’s power focuses on choices is further emphasised with her knowledge of ‘what people would have been’ as I think that’s an expansion upon what different choices would have led to. Of people had chosen differently then this is what they would have become.

And in Verna’s interactions with Pym all of the moments she references are ones where choices are made: the choice to leave a man in the desert, to abandon a guide in the snow, to assault a woman in the arctic. Moments when a choice or decision was made.

So I think she is a bargainer, or demon of decisions, and while she isn’t inherently evil she has her own morality as seen when she chooses deaths which are painful or peaceful, depending on a persons actions.

And really the message of the whole show is choices and their consequences.

[siriuslyobsessedwithfiction]

Realizing a widely popular historical fiction/modernist novel (in 20th century) had a political figure fighting for freedom of his people, more influential forces wanting him and his people to lose autonomy, a borderline fanatic head of the church interfering in political affairs, a young woman who has special connection with animals and particularly deer getting caught in-between conflicts, an old spellcaster who has lived many lives with different identities who keeps secrets, and a civil war. Why does this remind me of Shadow and Bone trilogy...🤔

Only in this book, the man who fought for freedom of his people for years is not framed as an absolute villain, even though he led a battle because he wanted to pursue a woman. But rather, the narrative acknowledges he was a brave man who served his people since he was thirteen and fought countless battles for his country. And that such responsibility is heavy, and even he was human, wanting a connection. Although, his actions aren't excused, no one says it was right of him to go to such lengths for a woman and to maim her lover. His end is still tragic. But it doesn't feel like a disservice to his character because people know the good he did and acknowledge it. He showed more mercy at first than his enemies deserved. He had friends who were good people and loved him. Even people who hated him for personal reasons said it was better for him to rule than to start a war and get someone far less competent in charge, which would leave them vulnerable to foreign enemies.

But what does the Darkling from Shadow and Bone get? His centuries of work erased, his name being more demonized than ever and eternity of suffering. LB could either make him an actual villain, or let him be a morally grey tragic character. Instead, he got tossed between both of those and then got blamed for everything that went wrong ever. While the rapist King got a nice retirement and the leader of the witchhunters who was actively committing genocide is spared because he was only the product of the system, apparently.

"Aleksander had marched south with the king’s soldiers, and when they’d faced the Shu in the field, he’d unleashed darkness upon their opponents, blinding them where they stood. Ravka’s forces had won the day. But when Yevgeni had offered Aleksander his reward, he had refused the king’s gold. “There are others like me, Grisha, living in hiding. Give me leave to offer them sanctuary here and I will build you an army the likes of which the world has never seen.”

“He … he said that Darklings are born without souls. That only something truly evil could have created the Shadow Fold.”

"Not everyone thought like Eva or the old serf, but I’d been in the First Army long enough to know that most ordinary soldiers didn’t trust Grisha and felt no allegiance to the Darkling."

"I've committed many sins, Pippa, as a king and a man. I carried almost all the virtues and all the defects of my people. I was bold and faint-hearted. I set at nought the Byzantine Emperor but was afraid of snakes. I was conceited, heartless and loathsome, but I never betrayed my people, Pippa. Our misfortune is the same now: among us, the traitors outnumbered the loyal ones. I know very well, even in my army, half of them were bought by the Byzantines, and half by the Sarkinos. When the people have so many traitors at home, even Alexander the Great cannot defeat the enemy. If the nobles had not deserted me at Basian, I would have defeated Basil Caesar there too, you know. If the whole nation doesn't want to win, Alexander Macedonian can't help either, Pippa, because cowards and emissaries have never won anywhere. I gave my childhood and my youth to Georgia, but the Kartlels called me "the Abkhazian," and by the Abkhazians I was considered to be a Kartalinian spy, I who was a Bagration, a Laz."

"I rarely saw the Darkling, and when I did it was from a distance, coming or going, deep in conversation with Ivan or the King’s military advisers. I learned from the other Grisha that he wasn’t often at the Little Palace, but spent most of his time traveling between the Fold and the northern border, or south to where Shu Han raiding parties were attacking settlements before winter set in. Hundreds of Grisha were stationed throughout Ravka, and he was responsible for all of them."

"The King is a child. But you've made him a very happy child."

"I was slowed down by the squabbling of the nobles and the commanders, Pippa. Every scoundrel in us longs for nobility, every bastard - to be a commander.

No one knew his name to curse or extol, so I spoke it softly, beneath my breath. “Aleksander,” I whispered. A boy’s name, given up. Almost forgotten.

"He took off his clothes and was surprised when he saw a body marked by wounds, some old, some newer. A completely young man's body."

"It was a gravedigger who dared to confront the truth first, once everyone had left: "Not even in death has King Giorgi had any luck."

[igorlevchenko-blog]

An excerpt from the diary of Dr. Alistair Grout

It is quite peculiar the happenings I've been made to witness from my supernatural longevity. I'm thinking of one unfortunate phenomenon in particular of unique interest to my station... both as a professional and as a sufferer of this vampiric condition. It seems the stream of time has begun to erode the moorings of my chosen course of study... for the methodologies that gave birth to psychology are slowly disappearing. I find myself in an era that overlooks the physical component of psychological pathology time... and again in favour of the sophistic practices of Freud. Phrenology, dactopindalism, and the rest of the old guard is fallen by the wayside... its champions all silenced in death with my unique exception. Would that I could make my voice heard again although it may be suspicious... should I return to popular medical discourse fifty years after my apparent death. No, better that I continue my studies into the psychosis in secret. One day may I hold up my own cure as validation of the methods. I am confident no cure for my conditon or that of my beloved wife lies within our figurative minds... waiting to be unlocked by the correct combination of memories recovered from our childhoods. And I'm most certain that it has nothing to do with the relationship between myself, my parents, and my genitals. Sorry, Sigmund, but I choose to stay my course. In time, too, may your star fade and disappear.

[supremechancellorrex]

I watched the Devil Judge recently and I really enjoyed it, especially the complex and ensnaring relationship between Kang Yohan and Kim Gaon. I think the series really demonstrates the power of creativity and themes all complimented by the stellar acting of the main cast. It was enjoyable being seduced by the narrative and the modern and dystopic world it presented, with interesting questions posed about corruption, populism, fascism, mob justice and the characters that inhabit them that are very relevant to our own world.

One of my favourite things was how instinctive the fury and retribution was. At the press of a button, so easy and convenient, people didn't think about the ethics, they just wanted to make evildoers suffer, and have the power to do it, and the more desperate they became, the more unthinkingly vicious and sadistic, the easier they were to manipulate. The show is very good at making the audience feel a part of that as well, with all the lies and half-truths the characters tell, and I felt myself taken along for the ride, baying for blood with the mob at points even knowing it was a slippery slope for society.

After all, what Kang Yohan offers is very tempting, which is why I suppose he really is the Devil Judge.

[starway7]

Ways ISaT Changed Me: Part 6

Man it really is possible to write good dynamics between characters of such different background and age and stuff. Like, I knew that, but I've finally seen it actually done.

Literally all of Bonnie's dynamics with the party, but especially Bonnie and Odile. Like, damn, such a difference in backgrounds, but the bond between them is sooooo lovely.

(To bring up Your Turn To Die in comparison again, that did this too, but ISaT made me actually realize it. YTTD wasn't just a fluke or a single writing getting it right, it's just a subject that I don't see done well all that often.)

And just the fact that the main characters can't really be shipped together in more than a few ways is also nice. Like, romance is great and all, but I'm starved for that platonic/family love in fiction.

[pinkanonwrites]

archiveofourown dot org/works/54280291

I figured you'd appreciate this beachcomber/reader fic I did

Ahhhhh, thanks for sharing Mars! If anyone else wants to check it out here's a handy dandy link for you! It's really cute <3