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aristocraticelegance · 9 months ago

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Reading for February 2024. This was a Tanith Lee heavy month, because as I try to make my way through my backlog of books purchased at secondhand book stores I have been forced to confront the fact that I own far more Tanith Lee than I've actually read. This is because I don't come across her books that often, so when I do I buy them all and hoard them.

The Secret Books of Paradys I & II, Tanith Lee, 1988. I started reading this several years ago, because the first half is 2 novellas, so I would read one and then go do other things, and then come back. The second part is a novel, but it is organized in such a way that it reads similarly to a collection of novellas, but more clearly interconnected. The thing about Tanith Lee's writing is that she presents you with any number of fantastic, horrible, or fantastically horrble things and doesn't blink once. In one story a character is buried alive and then comes back a different gender. Another one starts off with sexual assault AND THEN SOMEHOW GETS WORSE. There were regularly parts throughout this collection where I had no idea where it was going next, but it was great. If a collection of horror-fantasy stories set between ancient Roman and 1920's pseudo-Paris sound like a good time to you, it's worth reading.

Cordelia's Honor, Lois McMaster Bujold, 1986-1996. Technically this is two books, Shards of Honor and Barrayar, but I had already read the first one and while I thought it was fine, I wasn't really interested in reading more. However, I've heard enough good things about the rest of the series that I decided to read the second half, and I'm glad I did. Technically sci-fi, but set on a planet that's late 18-early 1900s coded, it's an interesting look at pregnancy and motherhood through that specific lens. There's not a lot of pregnancy in sci-fi; you'd kind of think there'd be more by now. Still not my favorite of McMaster Bujold's (the Chalion books are great), but I feel motivated to read more of this series now.

3. The White Serpent, Tanith Lee, 1988. I have no idea how she published all of this in one year. I assume it was not all written in one go. Anyways, in a bold move I chose to read the third book of a trilogy without having read the previous two books. This is because I found this one at Half Price books, saw it was by Tanith Lee, and thought the cover looked cool. This wasn't a huge issue, because this seems to be a series of stories set in different generations in the same world, so events from the previous books are mentioned as historical details. I really liked this one; Lee is great at telling big, sweeping stories in a relatively small space. I also like her approach to rendering deeply sexist societies, simultaneously blunt in the way the characters are confronted with the reality of their situation and nuanced in how they manage to navigate it. Also? She can describe a sunset like no one's business. This is what's wrong with fantasy today: no one describes the sunsets or the trees. I want to know about the trees!! (Also weather plays a weirdly important part in this book. Like a major plot point hinges on some really bad weather). I realize I've said nothing about the plot, and that's because it A. doesn't matter and B. is impossible to summarize. At the core of it is a guy who is a gladiator in a kind of fantasy Rome-type city, but a lot happens before and after that. There are also some white people (literally white) who might be aliens. I'll probably go back and read the first two books, since this one was pretty weird. Modern readers might take issue with the way race is handled (see above RE: bluntness and nuance) but I can't really say much on that front.

4. Black God's Kiss, C. L. Moore, 1930s. A collection of the Jirel of Joiry stort stories from the 30s, which I only learned existed about a month ago. There was a lady protagonist in sword and sorcery! Written by a woman! Amazing. I did generally like these; the titular story was great (except for the very end, which I did not like, but the sequel story kind of made it better). I've seen these stories described as female Conan meets Alice in Wonderland, but the wonderland bits reminded me more of Arthur Machen's work. Some great descriptions overall, even if some parts felt dated in an annoying way. Also, this particular cover is ridiculous, but she is described as running around in a chain mail shirt with her thighs out, for some reason. Presumably because sword & sorcery abhors a pair of pants.

Link to January's books

#reading #books #reading 2024 #tanith lee #c. l. moore #lois mcmaster bujold #text #honestly if you like anything on this blog you should be reading Tanith Lee

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jakesuit0 · 1 year ago

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Morituri Te Salutamus Review

“Morituri Te Salutamus” is one of two episode titles with non-English speaking words in it, and the only episode title with no English words in it. The Latin terminology translates to “We who are about to die, salute you”. Adventure Time season 3 episode 2: We Who Are About to Die, Salute You. That’d be quite the mouthful. The Latin translation fits the Roman theming in this one much better. There’s lots of bits of Latin throughout the episode, such as “eludere” (evasion) and “non pugnant, Flamma” (be not repugnant to him). I like when Adventure Time incorporates different cultures, such as Korean, to expand the world. I don’t think any episode commits to playing with a particular culture as much as this one.

Finn and Jake enter a Roman colosseum. It's up for debate if the arena is a few hundred years old and was merely inspired by ancient Rome, or if this is literally remnants of a colosseum from 3,000ish years ago. The gladiator ghosts are gay, and there is evidence suggesting homosexuality was more socially accepted in ancient Rome. Their names are even taken from Roman warriors from history and fiction. The magical element to the arena was definitely added post-Mushroom War, and the implication at the end is the ghosts had a similar story to Finn and Jake, meaning they weren’t humans from Rome (plus one of them has two heads).

I like how Finn and Jake are smart enough to immediately realize the place is a trap, but are confident enough to still take it on. They’ve clearly earned that confidence (with a strong helping of plot armor) as they succeed where all the gladiator ghosts failed. I like the Fight King, he has a cool design that adds to the episode’s atmosphere. He’s missing an arm, of course his right one. We can piece together the backstory of this place, but Fight King’s role and purpose remains pretty mysterious. It’s the second episode in a row with a king character, and it’s pretty consistent that rulers in Ooo are titled princess or king, rather than prince.

Finn and Jake fight the first pair of gladiator ghosts. The fights throughout this one are pretty fun and dynamic. Finn is strangely not using the Root Sword, but the Steel Sword for the first time. It’s a cool design, even with it weirdly resembling the Night Sword. I love the easy to miss detail that the injuries on each ghost matches the weapon used by the other. One of them refers to the other as their love. The crew were able to sneak in same-sex romance under Cartoon Network’s radar (confirmed canon by Andy Ristanio) and I don’t think it's a coincidence that Rebecca Sugar co-boarded this episode. Along with the Roman theming, my favorite part of the episode is all the hints given to the gladiators’ backstory (like them constantly apologizing to each other and begging for forgiveness). There’s enough pieces to figure out the history, the episode doesn’t need to make it explicit.

Finn and Jake have been quibbling over Jake’s non commitment to following through with Finn’s plans. Jake just wants to have fun, he doesn’t take the adventures as seriously as Finn. Jake lets Finn do all the work, so he can stay underground singing songs and execute his nonsensical plan of forming a molten hula hoop for morale. I like how passive their conflict is, they never actually get mad at each other, even with Finn’s deceit later on. Jake sings “On a Tropical Island”, another highlight of the episode. It’s hard to truly enjoy the song in the episode itself, as it's broken into four different scenes. But, it's great listening to the entire thing outside the context of the episode. It still stands as the best Jake song of the series. This is the song that people should be asking John DiMaggio to sing at every panel, not “Bacon Pancakes” every fucking time.

Finn is seemingly mind controlled by Fight King. Fight King has Finn fight Jake to the death, like he forced onto the gladiator couples. Add Finn stabbing the dummy Jake and trying to kill the real Jake onto the pile of Jake death foreshadowing. Jake’s confused reaction to his brother trying to kill him, in contrast to how easy going Finn was in his conflict with Jake, is heartbreaking. Finn tricks Fight King into giving him his sword, which seems to contain his soul. The sword’s rune reads “to fight is to live”, and apparently Fight King literally can’t live without it. Finn smashes it, killing Fight King and his power over the arena. Finn was faking being mind controlled. We saw Fight King’s sword magically alter Finn, so he must have just had the willpower to resist it. We’ll see another type of magic overcome Finn for real and cause him to act in a similar manner in Elements. The Gladiator Ghosts are a really tragic element of the story, so it’s nice to see them freed at the end, presumably going to a dead world. Missed opportunity to not have them cameo in “Together Again”.

This one’s story isn’t anything special, but the Roman theming, backstory, and song elevates it up from just a solid entry to a really good one.

Grade: A-

#adventure time #morituri te salutamus #finn and jake #finn the human #jake the dog

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seyaryminamoto · 1 year ago

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An ask about how you plotted Gladiator raised a good question. How do you keep track of it all? If you write notes, how do you organize them? How many Word files do you have? Or do you use another software?

Well... I can certainly say I've never needed as much backup material to keep up with a story as I have with this one, for obvious reasons X'D

Okay, I had a simple bullet-points list at first, probably started it around the time I was writing either arc 2 or finishing arc 1? At that point, keeping track of what I wanted to happen next wasn't so hard. But I turned this into what you could call a wishlist, haha, of ideas that I wanted to implement in the future, so I dumped those ideas there. Little by little I started articulating, organizing them, and that's kind of how Part 1's structure came to be. Whatever new idea I'd get, I'd add it to the bullet points list. Once I crafted the bulk of the story's outline for the first time, it was initially written there. As of this day... that particular document, which I don't rely on as much anymore, amounts to 3K words, 8 pages worth of very rough, very basic plotting.

But then more complicated arcs started happening. Stuff I REALLY needed to work out in proper detail because I wasn't sure I would be able to just remember whatever I wanted to do. Sometimes inspiration strikes like lighting: hits once and then it's gone and you're just left ambling about, half-blind, unsure of what the hell is going on :'D so I started writing similar bullet points lists that were more detailed structure for the more difficult arcs to plot. Pairs Tournament arc, I think, was the first one to receive this treatment. Fire Lord for a Week arc in Part 2 also had to be handled this way, same as the final arc of Part 2, and the Race, particularly since that one required extra choreographing on my part to get it right. In Part 3, I did this with the Taking Omashu arc as well. There are a few more bullet-point lists about some really important things that will matter in the future... but I can't talk about those yet :'D

Now then, past this: I have the a huge Excel document where I tried to keep track of the disaster ranking of the Superior Gladiator League. As much as Part 3 has been so difficult... not having to update the ranking is so goddamn nice about it :') This document had the ranking itself, the names + locations of all Superior League Arenas, the brackets for every Pairs Tournament we saw, it's also where I kept track of the Race's points... and there's also a very poorly crafted timeline in this document where I tried (and kind of failed) to figure out how many years had passed in the story and how old each character would be :'D as you might be able to tell, this particular document is... a mess. Big mess. I do not recommend looking at it. The timeline in particular is just completely irrelevant tbh...

Because I made a NEW timeline doc that keeps track of... everything. Kind of. Mostly? :'D

The new timeline doc was necessary and I honestly should have had it around from the start, but I spent AGES putting that one off because I have no sense :'D I think I started it in Part 2, REALLY late, as in, when Wan Shi Tong was writing down what Azula would say about her family. Then, Part 3 made this doc a much bigger necessity because I REALLY needed to keep track of... the obvious :') as in, Azula's pregnancy. Real pregnancies are tracked on a weekly basis. Hence... I had to start planning, plotting and strategizing my story by keeping in mind where, exactly, we would be in terms of Azula's pregnancy, CONSTANTLY. That sure switched up things for me :'D forced me to be a lot more organized than I usually want to be because wild freedom is kinda nice sometimes... but I couldn't keep doing that anymore. So! This timeline doc starts with the birth of Fire Lord Hizuo in the year -49, and it goes all the way to the events of year... 121! :'D I broke down the story events of each year in this doc, so if you want a bit of a rundown of what we've seen so far...

Year 104: Chapters 1 and 2

Year 106: Chapter 3 to approximately chapter 46

Year 107: Chapter 47 to chapter 114 (yeeeeah a lot of things happened that year :'D

Year 108: Chapter 115 to chapter 164

Year 109: Chapter 165 to chapter 200 (note that there was a preeetty big time skip of around 6 months between Hahn's Gambit arc and The Mad Alchemist arc).

Year 110: Chapter 201 to chapter 328 (okay now THIS was an eventful year, holy shit :'D and naturally it's the one I'm posting right now...)

Year 111: Chapter 329 to... ??? Still not done with the events of that year :'D so I dunno how many chapters it's going to be!

Things really changed since I started keeping track of events by month, even by weeks. I've tried to keep doing that since, even beyond writing Azula's pregnancy. It's a little annoying to be so thorough and to panic over miscalculating dates and such, but at the same time I think I feel more secure in my own crazy story this way.

Ah, and there we go. That's Gladiator's plotting documents, every single one of...

...

Yeah okay, that's not true.

Look. Sometimes you REALLY need to be thorough. Some things require WAY too much finesse. Sometimes you're telling two stories simultaneously. Sometimes you're telling THREE. Sometimes it's even MORE than that because you have flashbacks and multiple POVs of events in a battlefield. Sometimes you have to write huge battles between armies and you need to keep track of wtf you're doing. Sometimes you have to articulate events to make sure they match each other timeline-wise!

... At those times, you make a big document with a huge table, split in three columns.

Column 1 is the arc's name. Column 2 is Sokka's side of the story. Column 3 is Azula's side of the story.

... And sometimes that document ends up becoming as long as 122 pages.

Yeah, uh, the document carrying the highly sensitive plans, detailing every single arc of Part 3 and how they work, how they connect, how long they'll be, what will happen in each of them (as well as which elements happened in which chapter, some of which ends up getting switched up, back and forth, depending on whether my writing lined up with the reality of my plotting or not...) is genuinely, uh... 122 pages long. 45K words. By my standards, that's about the length of 3 Gladiator chapters :'D

I had to be really thorough in that document. I was lost in regards of how I'd handle Part 3 for some time. Even if I had some ideas for it already, Sokka's side of the story used to be muuuuch clearer than Azula's. Once Rei showed up, plotting for Azula's side became soooo much easier to do... but the point is, Part 3 has been the most challenging aspect of plotting this story by far. I'm flexible enough with my plans, some things don't work or would work better at other times, and I simply adapt to it. But this document was 100% necessary to make sure I wouldn't get lost in the chaos of Part 3... so there it is :'D

Additional to this: I keep a version of Bill Mudron's ATLA map on direct access for easy reference whenever I want to make sure I'm not committing geographical crimes by making characters travel too fast, or to places that aren't even close to each other :'D it has been a huge element in my plotting and ensured I don't ATLA finale ANYTHING in the story since its earliest days. I also had to acquire a strange little resource, an educational app about space that features a projection/simulation of timezones! And that's how I've been keeping track of whether it's daytime or nighttime in Sokka or Azula's story, particularly useful whenever they connect to each other spiritually since it's very often nighttime for one and daytime for the other and these events should be happening simultaneously :'D

Oof, well. That's all I can think of atm to answer this question. There are always a lot of references you need as a writer, lots of places to keep track of your research, of your worldbuilding... it's chaotic but once you find a method to your madness, it can be fun, even! :D it still blows me away a little that my big full plotting document is 122 pages long, but it's been an undeniably useful asset all across these years.

So, in total, counting only my documents... I have about 10 different Word documents, 1 Excel spreadsheet with multiple sheets, probably around 8 different ones, 1 map, 1 cosmos education app. Making it around 13 resources to keep track of what I'm doing in this huge chaotic story :'D

... 11, come to think of it. I have one hilarious document that's basically me arguing with myself over some big plot changes I did to Part 3 as a whole when I started writing the first spiritual connection and it became EXTREMELY obvious that Azula wasn't letting Sokka go without telling him she was pregnant :'D yep, that wasn't part of the OG plan because I, as usual, underestimated my girl. By the time I got there she was like "I'm going to do it and you can't stop me with your PLOT" and I had to go back to the drawing board for a LOT of rearranging the plot, to figure out how it would work, what to do with it... document is literally called "BETWEEN A ROCK AND A HARD PLACE.doc" simply because I was terrified that change would alter the plotted story way more than I could handle. After my bickering with myself in that doc, it all started making a little more sense :'D

Alright, I think that's that XD

#emanleopard555 #gladiator #it's kinda funny to actually look at all this stuff objectively now #how much plotting went into this story #it is kinda obvious that you can't make a story this big make sense without plotting properly #but it's funny anyway to really let it sink in that I have that much stuff in my Gladiator folder #it is indeed a huuuuge folder #this baby is a little too big for its own good I'm afraid #but we keep up with it no matter what

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gemtvusa · 1 year ago

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Gladiator 2 (2024) Filming, Release Date, Cast, Trailer

The follow-up to Ridley Scott's iconic "Gladiator" (2000) is on the horizon with "Gladiator 2," an epic historical drama directed by Scott himself. David Scarpa penned the screenplay for the sequel, which boasts a cast including Paul Mescal, Denzel Washington, Joseph Quinn, Fred Hechinger, and Pedro Pascal, alongside returning stars Connie Nielsen, Djimon Hounsou, and Derek Jacobi. Scott Free Productions is behind the production, collaborating with Paramount Pictures and Universal Pictures for distribution. Audiences in the United States can look forward to "Gladiator 2" hitting theaters on November 22, 2024. Gladiator 2Directed byRidley ScottWritten byDavid ScarpaProduced byRidley ScottMichael PrussDouglas WickLucy FisherDavid FranzoniStarringPaul MescalDenzel WashingtonConnie NielsenDerek JacobiDjimon HounsouJoseph QuinnFred HechingerPedro PascalCinematographyJohn MathiesonEdited byClaire SimpsonSam RestivoProduction companiesParamount PicturesUniversal PicturesScott Free ProductionsRed Wagon EntertainmentDistributed byParamount Pictures (United States) Universal Pictures (International)Release dateNovember 22, 2024CountriesUnited StatesUnited KingdomLanguageEnglish

Gladiator 2 (2024)

Ridley Scott's "Gladiator" stands as a landmark cinematic achievement, outshining previous Ancient Rome epics like "Ben-Hur" and "Spartacus" with its dazzling production and groundbreaking special effects. Beyond its technical triumphs, the film delivered a compelling story that made an indelible impact on the annals of film history. "Gladiator" spins a tale of the fictional General Maximus (portrayed by Russell Crowe), who becomes ensnared in a power struggle and betrayal by Emperor Marcus Aurelius's son, Commodus (Joaquin Phoenix). After a tragic fall from grace and the murder of his family, Maximus's quest for vengeance and justice transforms him from a general to a gladiator, inciting the oppressed citizens of Rome and culminating in an iconic showdown with Commodus. This blend of epic storytelling and cinematic innovation garnered "Gladiator" 12 Academy Award nominations, winning five, including Best Picture. It seemed that Maximus's death in the climactic duel closed the chapter on his story, but the allure of the gladiatorial saga persists. Talk of a "Gladiator" sequel has simmered since the original film's release, with Russell Crowe hinting at ongoing discussions. Early speculation suggested potential plots involving Maximus's resurrection or even mythological battles in the afterlife—indicative of a possible shift towards the supernatural. Yet, as "Gladiator 2" gears up for production, it remains to be seen whether the sequel will maintain the historical drama's authentic spirit or venture into new, fantastical territory. For those eager to revisit the grandeur of the Colosseum and the world of "Gladiator," stay tuned for further details about the anticipated sequel, "Gladiator 2." Note: This article was updated on October 9, 2023.

Gladiator 2 Story Details

Set more than two decades after the events of the original "Gladiator," the sequel will focus on Lucius, who has matured since witnessing the heroic acts of Maximus. Lucius, the progeny of Lucilla (portrayed by Nielsen), was deeply influenced by Maximus' valor and self-sacrifice. As a youth, he was positioned close to the epicenter of power but inspired to uphold Maximus' principles. "Gladiator 2" is expected to explore Lucius as an adult, potentially stepping into the gladiatorial arena himself while grappling with the complexities of his inherited political legacy.

Gladiator 2 Is Confirmed

The sequel to "Gladiator" is officially on its way, with the current iteration set for a 2024 release, as reported by Deadline. Ridley Scott first proposed a sequel in 2001, and since then, numerous versions have been on the cusp of production, with one potential project even involving Chris Hemsworth. However, it wasn't until November 2021 that the film found its footing, when David Scarpa was confirmed to collaborate with Scott on the screenplay for "Gladiator 2," following their partnership on "Napoleon." This version is the one that audiences can anticipate in 2024. Paramount Pictures had already given the green light to the "Gladiator" sequel in 2018, demonstrating long-standing confidence in the project's potential.

Gladiator 2 (2024)Cast

"Gladiator 2" is assembling an impressive roster of talent, with Paul Mescal, recognized for his Oscar-nominated performance in "Aftersun," set to lead as Lucius, originally portrayed by Spencer Treat Clark in the first film. Lucius is the offspring of Lucilla and Lucius Verus, and nephew to Commodus, the antagonist from "Gladiator." Fred Hechinger has been cast as Emperor Geta, a historical figure who reigned from 198 to 211, a role that was once linked with Barry Keoghan. Given Geta's historical background, his role in the sequel raises questions about whether he will follow in the footsteps of Commodus as the next adversary. Joseph Quinn of "Stranger Things" fame will portray Emperor Caracalla, adding to the list of new faces in the sequel. Several actors from the original "Gladiator" are also returning; Connie Nielsen will reprise her role as Lucilla, Lucius's mother, Djimon Hounsou as the former gladiator Juba, and Derek Jacobi as Senator Gracchus. The sequel's ensemble further expands with the addition of Denzel Washington and Pedro Pascal in undisclosed roles, enhancing the film's star power. Additional cast members in yet-to-be-revealed roles include May Calamawy, Lior Raz, Peter Mensah, and Matt Lucas, all contributing to the depth and intrigue of the "Gladiator 2" lineup.

Gladiator 2 Release Date

"Gladiator 2" is slated for a theatrical release on Friday, November 22nd, 2024. However, this date might be subject to change due to the production pause brought on by the SAG strike. Given the grandeur of the original film, it's expected that "Gladiator 2" will premiere with a significant theatrical presence, fitting for the spectacle of a Ridley Scott epic. Typically, a film of this magnitude enjoys an exclusive period in cinemas before being made available on streaming platforms. With Paramount Pictures distributing, it's anticipated that "Gladiator 2" will eventually make its way to Paramount Plus following its theatrical window.

Gladiator 2 (2024) Production

Efforts to create a sequel to Ridley Scott's "Gladiator" began as early as June 2001, exploring the possibility of a prequel or sequel with David Franzoni, the original screenwriter. By 2002, John Logan was scripting a sequel where Rome is controlled by the Praetorian Guards and a grown Lucius seeks the truth of his father. The story would delve into both prequel elements of Lucius's lineage and the fantastical resurrection of Maximus, with extensive research into Roman afterlife myths conducted by the producers and Russell Crowe. In 2003, Scott confirmed a completed script focusing on Maximus's secret son, Lucius. By 2006, Scott revealed that while development was ongoing, the narrative direction remained uncertain, with differing opinions on whether to include fantasy elements or stick to historical fiction. During this period, Nick Cave crafted a bold script titled "Christ Killer," where Maximus, cursed with immortality, battles through history, ultimately finding himself in modern-day warfare—a concept eventually discarded. DreamWorks' financial troubles led to the sale of its assets, including "Gladiator," to Paramount, causing a pause in the sequel's development. However, in 2017, Scott suggested the narrative challenge of Maximus's death had been overcome, reigniting interest in the sequel with discussions for Crowe to return. Paramount officially greenlit the sequel in November 2018, with Scott in talks to direct and Peter Craig attached as the screenwriter. The film, slated to take place 25-30 years after the original, would focus on Lucius, marking a joint venture among Universal, Scott Free Productions, Parkes/MacDonald Productions, and Paramount. In 2021, Chris Hemsworth proposed to co-produce, collaborating with Crowe on ideas. By September, Scott aimed to direct after completing "Napoleon," with David Scarpa rewriting the script. The focus on Lucius as the lead came after considering the character's potential. Pre-production began in 2023, casting Paul Mescal and confirming the return of original production designer Arthur Max and costume designer Janty Yates. Ridley Scott, impressed by Mescal's performance in "Normal People," chose him over Austin Butler, Richard Madden, and Miles Teller. Barry Keoghan and Denzel Washington were in talks to join, with John Mathieson returning as cinematographer. By April 2023, original cast members Connie Nielsen and Djimon Hounsou were set to return, alongside new cast member Joseph Quinn. The ensemble expanded in May, with Pedro Pascal, May Calamawy, Lior Raz, Derek Jacobi, Peter Mensah, and Matt Lucas joining, and Fred Hechinger confirmed to replace Keoghan. Production was set to begin in Morocco, with subsequent shoots in Malta and the UK, although a filming accident and the SAG-AFTRA strike impacted the schedule. The project received a record-breaking film incentive from Malta, demonstrating the grand scale of this anticipated sequel. Filming The production of "Gladiator 2" was set to commence in May 2023, with the Moroccan city of Ouarzazate chosen as one of the primary filming locations. Preparations and set construction in the area started in April. Filming officially got underway in June 2023, with plans to extend the shoot to Malta and the United Kingdom within the next four months. However, an on-set fire incident on June 7 led to injuries among six crew members. In July, the production faced a temporary halt due to the SAG-AFTRA strike of 2023. The project made headlines for securing a landmark film incentive rebate from Malta, amounting to nearly €47 million, a record-breaking figure within the European Union for a film production. Gladiator 2 Trailer https://www.youtube.com/watch?v=e0CJbdZtzI0 Is Gladiator 2 confirmed? Yes, "Gladiator 2" is confirmed. Development of the sequel has been in the works for some time, with Ridley Scott attached to direct and a script that has undergone various iterations. The sequel has secured a cast and has been moving forward with production, despite some delays due to external factors like the SAG-AFTRA strike. The film is set to expand on the story of the original "Gladiator," focusing on the character of Lucius, more than two decades after the events of the first film. Are they really making Gladiator 2? Yes, "Gladiator 2" is indeed in the works. Ridley Scott is returning to direct the sequel, and the film is set to continue the story set forth in the original 2000 epic. With a script that has been developed and a cast that includes Paul Mescal as Lucius, production has been progressing, though it has faced some delays. The sequel has been a topic of discussion for many years, and it has now moved beyond speculation into active development and pre-production. Is Gladiator 2 delayed? As of the last update, "Gladiator 2" faced a suspension in filming due to the 2023 SAG-AFTRA strike. This interruption could potentially lead to a delay in the production schedule. However, whether this will affect the film's release date or result in a significant delay has not been explicitly confirmed. These situations are often fluid, and studios typically reassess timelines based on when production can resume. For the most current information on the status of "Gladiator 2," it would be best to refer to official announcements from the production team or the studio. Why is Russell Crowe not in Gladiator 2? Russell Crowe is not in "Gladiator 2" primarily because his character, Maximus Decimus Meridius, died at the end of the original film. The storyline of "Gladiator" concluded with Maximus achieving his revenge against Commodus and then succumbing to his injuries, leaving a definitive end to his arc. The sequel, set more than 20 years later, focuses on Lucius, the son of Lucilla, who was a child in the first film. It seems the narrative will follow Lucius as he grapples with Maximus' legacy rather than resurrecting Maximus for a new story. This direction allows the sequel to explore new territory while respecting the conclusive ending of Maximus' journey in the original film. Read the full article

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ask-tamatoa-with-axes-for-claws · 2 years ago

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well, since i’ve finished the arc (finally) it’s time for my ✨dressrosa wrap-up✨

fourth gear luffy was very cool!! also seeing devil fruit awakening powers in action (for the first time, i think?) really cool and opens up a lot of options for how fruit powers can be used in the future!

USOPP AWAKENING OBSERVATION HAKI!!! MY BOY (also, in knocking sugar out the second time, the method was very funny. it was also funny the first time but it was funnier the second time.) also god usopp...iconic

i am DELIGHTED by bartolomeo, he is such a lovable dipshit. also for new characters, issho is a pretty rad dude, especially compared to...most of the admirals we’ve seen so far. he has a legitimate sense of non-sociopathic justice and isn’t blind to the flaws o. is aware of the flaws of the world government and their overreach and corruption. also glad to see sabo and luffy reuniting

my bellamy woobification arc...this dude is just straight up having a bad time

CORA MY BELOVED...god, law’s flashback is one of the hardest-hitting flashbacks in the series so far, probably up there with brook’s and nami’s (robin’s is still the most devastating to me)

okay time for me to be a hater. i simply do not care for law very much outside of when he’s trying to be Badass McCoolGuy and being reminded that he lives in a cartoon world and has formed an alliance with the cartooniest guy in that world. there are way too many times in this arc where there’s a death fakeout, then it turns out he’s not dead, and it’s just like. come on, man. his powers as shown in the previous arc are already insanely broken to the point it feels like there’s little-to-no tension in a lot of the fights he’s involved in somehow.

i did not care for half the crew going off to zou partway through the arc and being offscreened entirely.

ughhhhhhhhh everything about rebecca’s writing kind of sucks ass! this has been talked about in excruciating detail before but she ultimately does nothing of substance and is forced to be rescued multiple times. despite supposedly being one of the greatest gladiators in dressrosa, she’s repeatedly put in situations where she cowers in a corner, sobbing for someone to save her. the resolution to her “fight” with diamante, with her big strong dad coming in and going “girls shouldn’t fight! you need to remain Pure and Pristine!!” would probably have come off as incredibly sexist no matter what, but if there had been more of a focus on rebecca being forced to fight despite not wanting to, and in her feeling guilt over hurting and defeating the other contestants, it could have felt slightly less insulting

does anyone like the tontattas

seriously, anyone

maybe i wouldn’t have minded them so much if not for the stupid introductory scene where they crawl into robin’s dress (speaking of women who get sidelined hard in this arc...hoo boy) and the consistent official translation phonetically writing their dialogue in cutesy baby talk but like. they do nothing for me. i do not care for them.

the same goes for, uh, basically all the gladiators? and also basically all the executives (except senor pink) ?? we spend a hell of a lot of time watching a bunch of dudes we’ve never met before this arc and have no emotional connection to fighting a bunch of other dudes we’ve never met before this arc, and honestly instead of introducing 50 new characters i would have preferred the offscreened strawhats get to fight instead.

because of the multiple plotlines, it feels like we jump around every 2-3 chapters to a different story, and as a result, it feels like not much progress is made in each line. i really hope other people who were reading this were super invested in all of the plots because otherwise you spend multiple chapters in a row waiting to get back to the shit you actually care about

overall i’d say the arc is...there are parts about it that work (everything that directly involves doflamingo, the doffy vs. luffy fight, issho) but unfortunately a lot that feels like it’s spinning our wheels waiting to finish up the main plot. i appreciate the dark parallels to alabasta and the vision of “here’s what would have happened if crocodile had won”, but i feel like alabasta handled it much more concisely, with characters i was more invested in, and allowed all the strawhats (and vivi) to be a key part of stopping the villain’s plan instead of having half of them leave halfway through the arc

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wondereads · 2 years ago

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Personal Review (10/23/22)

The Hunger Games by Suzanne Collins

Summary

Odds are you already know it, but here goes. Katniss Everdeen lives in District 12 of Panem, a country built in the ruins of North America. She ekes out a living with her mother and younger sister, Prim, until Prim is selected as a tribute in the brutal Hunger Games. Desperate, Katniss volunteers to take her sister's place in a bloody competition where twenty-four teenagers fight to the death, and only one will ever see home again.

Plot 1 2 3 4 5 6 7 8 9 10

Despite its similarities in basic plot to some other books, The Hunger Games stands out from the crowd. Yes, it is about the Hunger Games, the horrible gladiator games the Districts must partake in, but a lot of the emphasis is on what surrounds the Games; the people, the politics, and the history of Panem are always there, even if they aren't always on the center stage. Even when Katniss is struggling to stay alive, she's always thinking about Prim or Haymitch or regular people from the Districts, creating a narrative that isn't just limited to the arena.

The setup for the later books is very well done. Nothing feels forced, the emotional payoff is there, and the political reasons for the plot to continue are set up very well. Also, while just enough is revealed through worldbuilding, a lot of the nitty-gritty details are held off on for the politics-heavy second and third books.

Characters 1 2 3 4 5 6 7 8 9 10

Katniss is an amazing main character. She's stubborn and sullen, but not to the point of being completely unreasonable, and she's rather out of touch with her feelings, which is something to expect from a sixteen-year-old girl who's going through the most traumatic time of her life. She's a great example of a properly limited perspective; things are being kept from her to keep that suspense for the audience, but she also has access to information other characters don't have through her expertise and connections to other characters. For example, Katniss is oblivious to Peeta's feelings for her, but she knows what she has to do to get stuff from sponsors, which Peeta doesn't understand. Katniss is cynical, uncooperative, and supremely awkward, but she is also shown to be straightforward, caring, and determined. She has a very good balance between negative and positive traits, making a likable main character who still has the flaws necessary to survive in a world like Panem.

Peeta is the perfect balance for Katniss. He's softer than her, having led a moderately more privileged life. He doesn't have her survival skills, but he also doesn't have the callousness that one would expect from a tribute. He's certainly clever, he knows how to make a crowd work for him (his interview with Caesar is top 10 most shocking moments in literature), but he's definitely the pacifist of the two. And pacifism is necessary for both the story and Katniss as a character.

The side characters are slightly limited in that most are absent for a good half the book; Haymitch and Effie only appear before the Games, Rue only starts really talking to Katniss in the Games. However, they are really well-constructed characters. Haymitch, despite a less-than-desirable introduction, is one of the most nuanced characters of the series, and Rue has a quality to her that makes the audience immediately get attached to her, something that translates to the in-book audience as well as she is essentially the spark to start an entire revolution.

Writing Style 1 2 3 4 5 6 7 8 9 10

The writing style of The Hunger Games is very straightforward with little embellishment. It's pretty simple, but it matches Katniss' narrative voice very well. It also plays into the grim reality of the book; rather than waxing poetic about the Capitol and the food and fashions there, very little attention is paid to it in favor of addressing Katniss' preparations or her inner feelings.

The only thing about this is that those parts about her inner feelings can sometimes fall flat due to the lack of detail. Her emotions really shine in moments with Prim and Rue, which is very important, but smaller things, like her first kill, are sort of glossed over. Of course, Katniss doesn't have a lot of time to address it in the moment, but it's never really returned to. I know it gets some more attention in the later books, but those are some places where a little more details wouldn't be amiss.

Meaning 1 2 3 4 5 6 7 8 9 10

Oh, god, where to start? Well, first of all, The Hunger Games is a dystopia. The more blatant messages are things like the constant surveillance, extreme poverty juxtaposed with extreme wealth, or unjust and cruel punishment, all commentary on issues today, if exaggerated. However, The Hunger Games is mostly about those more subtle issues. For example, the way the districts are pitted against each other in the Games mirrors how minorities today are pitted against each other in an attempt to decide whose issue is "more important" (which is nonsense). Then there's the obvious comparison of the Hunger Games to reality tv, which is intrusive at best and traumatic at worst, especially when aimed at literal children.

The Hunger Games is also one of the few dystopian books where things aren't immediately divided into black and white. Even dystopian classics, such as 1984, tend to fall into this with the ruling class and all those involved are immediately evil. In this book and the entire series, people from the Districts, such as Gale or Coin, make horrible choices in the name of the 'greater good.' Vice versa is also true with characters like Effie, Cinna, and Caesar, people from the Capitol, who come to understand the horrors of the system and take a stand against it, no matter how subtle. Not to mention this book is written away that teenagers will both understand and be intrigued by those messages.

Overall 1 2 3 4 5 6 7 8 9 10

In my opinion, The Hunger Games is one of the best dystopian novels ever written. It addresses a plethora of issues in a nuanced way with stellar characters and is written in a way that makes those issues easy to understand. There are shocking similarities between Panem and the world today, as any good dystopia should have, and there is no hesitance to condemn certain practices. However, it never falls into a black-and-white dichotomy that might cheapen its message. From a purely entertainment standpoint as well, Katniss and Peeta are amazing characters, and the plot is fast-paced and engaging. There's a reason this book is one of the most popular YA books ever.

The Author

Suzanne Collins: 60, American, also wrote Gregor the Overlander and The Ballad of Songbirds and Snakes

The Reviewer

My name is Wonderose; I try to post a review every week, and I do themed recommendations every once in a while. I take suggestions! Check out my about me post for more!

#books #review #the hunger games #suzanne collins #ya #dystopia #science fiction #katniss everdeen #peeta mellark

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questersrest · 4 years ago

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apologies for the just talking about junk lately but my brain’s on infodump o’clock. i really want to talk about dq9 grottoes and alchemiracles. so here’s a wall of text that’s been in the back of my brain for around 9 years.

i always thought this stuff was insane and i’m dying for a remake so i can get into this again.

so.

quest #015 collapsus’ call

at the summit of the heights of loneliness, you will find a man, christopher collapsus, who climbed all the way to the top but collapsed just short of zere rocks. you need to bring him a special medicine. as a reward he will give you your first treasure map: granite tunnel of woe lv. 1.

a treasure map will depict a red X drawn on part of a map, this will be one of several locations on the overworld but it’ll be fairly zoomed in so it might take some thinking to figure out where it is. when you stand in that location, a prompt to press A will appear and when you do, a cave entrance will appear. these caves are called grottoes. inside you’ll find several floors with monsters and chests and then a boss floor.

when you beat the boss they will drop another map. it’ll be random but influenced by 3 factors:

a) the level of the map just beaten.

b) the hero’s max level. the hero’s level is stored separate for each vocation so if you’ve hit level 99 as a minstrel but are currently a level 30 warrior, your max level is 99.

c) the hero’s max revocation. when the hero reaches level 99 as a vocation they can revocate, resetting that level to 1 and gaining a little +1 next to the level. my max revocations was a +3 on gladiator.

there are like over 32,000 maps with over 200 quality variations if i remember right, the exact total is over 8 million possibilities with these varying features:

a) it’s location on the world map.

b) it’s environment theme: ruins 40%, cave 30%, fire 10%, ice 10%, or water 10%

c) the number of floors before the boss floor: 2-16

d) the layout of each floor including the placement of any chests. if you’ve ever played a mystery dungeon game you know what to expect with randomly generated dungeons.

e) the starting monster rank of the grotto. monsters appear from a pool, there are 12 ranks and each environment has its own pool of monsters for each rank. the monster rank can only start at up to rank 9 but it increases every 4 floors so to find rank 12 monsters, you’ll need a grotto that starts on 9 and has at least 13 floors. many monsters in the higher ranks are exclusive to grottoes so if you want to complete your bestiary... well i never in 700+ hours found a water grotto with rank 12 monsters. monster rank on each floor also determines what ranks of chest can appear there. there are 10 ranks of chest. each weapon used for making the 5 star weapons has a 1% chance to be in a rank 10 chest. there’s one for each of the 12 weapon types. but even on a monster rank 12 floor it’s not guaranteed to have rank 10 chests. (chests by the way refresh when grotto is closed and reopened).

f) it’s boss, of which there are 12 possible. each boss is more difficult than the previous and so it is related to the map’s level, so dw, a level 1 map can’t have the final grotto boss, you won’t be ready for that.

there is some lore to the bosses. the goddess celestria, daughter of zenus (who was slain by corvus at the beginning of the story), said her father must still be alive in some capacity or the world would cease to be. every grotto boss has some dialogue before the battle commences. fowleye specifically explains that zenus shattered into 10 pieces which took form as the first 10 grotto bosses. the 11th is the demon that the supreme sage sealed in a book with himself long ago, the supreme sage, still in the book, is a character who gives you the quests related to the sage vocation. the 12th is greygnarl who was slain by barbarus in the story but at the end his shadow was shown hinting at his return. in his dialogue he talks about himself, barbarus, and styrmling who remains somewhat of a mystery. greygnarl actually drops an yggdrasil leaf instead of another map.

each boss has 3 items they can drop. a 100% drop: another treasure map. a (i actually can’t remember, i think it’s 5 or 10)% drop chance: a certain pretty good piece of gear. a 2% drop chance for a piece of armour used for 5 star armour. most armour categories can be split into multiple sub-categories e.g. handwear that focuses on defence or deftness so there’s one for each sub-category: 1 shield, 2 headwear, 2 handwear, 3 bodywear, 1 legwear, 2 footwear. each boss has a specific one e.g. the first grotto boss, equinox, has a 2% chance to drop the vesta gauntlets: defence handwear. greygnarl is an exception to the rules, i don’t remember all the specifics and can’t find details at this time but i do remember is his 100% drop is an yggdrasil leaf and one of his drops is a certain legacy boss map, i’ll get to that in a bit.

treasure map names are clues as to the details of the map before explored but usually don’t guarantee anything (except a few environments, if it says “waterway” it’s definitely water).

there are a few other weird factors for the probability for monsters appearing on floors resulting in the ruby path of doom map that got extremely popular to share in japan and got referenced in dq11s because of the one floor with nothing but metal king slimes. i myself found a grotto which had a floor with absolutely no monsters whatsoever, it did however have 2 chests on that floor, at least one of which was rank 10.

now say you get one of these special pieces of gear, how do you make the 5 star gear?

agates of evolution are items than can only be made through alchemy and are only used for alchemy. the ingredients are 2x ethereal stone, 2x sainted soma, 1x chronocrystal. ethereal stones and sainted somas can be obtained through a few means but the easiest is through further alchemy with the ingedients being available through monster drops and sparkles found in the world. chronocrystals can only be bought, there is an npc in a cave that can only be reached in the postgame the only thing he sells are chronocrystals for 50,000 gold each, the most expensive item in the game.

there are a few special treasure maps, legacy boss maps, that lead to a grotto that is only a boss floor, a boss from a previous game. we have: dragonlord, malroth, baramos, zoma, estark, psaro, nimzo, murdaw, mortamor, nokturnus, orgodemir, dhoulmagus, and rhapthorne. the first you’ll likely come across is baramos’ map lv. 1 as a quest reward. the one greygnarl drops is dragonlord’s. when you defeat a legacy boss, they will return and ask to gain experience too, if you agree the map will level up. as a legacy boss levels up, the drops will increase in chance or change entirely. be careful as some maps you can only get once unless shared from another player, you could lock yourself out from some items. the key things they drop are armour to dress up as heroes from the previous games and maps of other legacy bosses. some legacy bosses are only available from the dlc quests or dropped by other legacy bosses that are only available from the dlc quests and since the online service was discontinued in 2014 they are now almost unavailable (if you’re genuinely interested bc you missed out, shoot me an ask and i can explain that one).

then there’s the orbs. every legacy boss can drop one of six coulored orbs. as their rarest drop, this won’t change, the chance can just be increased with their level, the only exception is nokturnus who changes which orb he drops with his level. it’s the same 6 orbs that appeared as a plot device in dq3, alongside a 7th in dq8, and would go on to appear in dq11. all six orbs are thankfully available among the legacy bosses available without online services.

each of the special items can be alchemised with an agate of evolution and a certain orb to make an improved version that looks identical. e.g. 1x stardust sword + 1x agate of evolution + 1x silver orb makes a nebula sword. getting the ingredients is both expensive and time consuming BUT it goes further. 1x nebula sword + 3x agate of evolution + 3x silver orb will make a further improved and identical but still only 4 star supernova sword. most of the time. see when you try to make this further improved item, krak pot will alert you he feels an alchemiracle coming on. he will state a chance as i think 10%, 20%, or 30% which i think can be influenced but i’m afraid i don’t know the details. you are then forced to save the game with the result determined so you can’t reset and try again. if it should succeed, you will make a 5 star item, the best item of that kind in the game, a stronger palette swap of the other items. e.g. the hypernova sword.

should it fail and you want to try again, you can alchemise the failed alchemiracle item e.g. the supernova sword with a rest stone to return it to the first item e.g. the stardust sword. reset stones can be bought from the mini medal collector of dq9 once you can reached the final reward.

so here’s the procedure.

1. grind grottoes and their bosses for this stupid rare gear. 2% drop rate has nothing on shiny pokemon, sure, except you do have to go through the entire grotto again every time.

2. grind legacy bosses for orbs.

3. grind materials for agates including money for chronocrystals.

4. pray to the rng gods once more for an alchemiracle.

5. cry because you spent 100 hours on this and it didn’t work.

6. give in to cheating via rng abuse, the hoimi table’s out there still.

have fun

#saving adventure log

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drunklander · 5 years ago

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Drunj!Der Yells About Outlander

Thoughts on Ep. 512

Looking for a way to spend Mother’s Day? Well, we here at Outlander have the perfect idea! Celebrate with the women you love by watching us gang rape grannie!

This episode is like the perfect storm of everything that is wrong with Outlander. The cast and crew saying it’s their strongest episode yet when it’s basically artsy gang rape. The CYA trigger warnings when the story would have worked perfectly well without including yet another rape. The kool aid-drinking fans yelling at and acting holier than thou at the fans who rightfully call out the massive problem this show has with rape and assault. The fans yelling at other fans because It’S iN tHe BoOk so it has to be included. The fans yelling at other fans for wanting to follow the books but not wanting rape every 0.5 seconds. The fans yelling at other fans to fuck off if they don’t like the show. The women in the cast throwing out trigger warnings while the men are radio silent or wanting the gladiators to face the plague and fight for their own amusement. It literally has everything.

And I am tired.

I’ve been in this fandom for six years and have had quite a journey. From first discovering the show and immediately devouring the books. The honeymoon period where I could headcanon out all the problematic bits. The getting deep into the fandom nonsense. The getting out of the fandom nonsense. The judging the fandom nonsense because it’s funny and they’re all idiots. The getting sick of the fandom nonsense because it’s not even fun to judge the dummies anymore. The becoming more and more aware that it’s impossible to whistle past the problems in the books and the show. The sticking around, holding out hope things might turn around and the initial magic could be recaptured. And finally, the giving up.

The books are trash. The show is trash. There are a handful of good scenes in each which can be enjoyed on their own, but as a whole, holy shit this stuff is not good. (Seriously, I tried to do a Fiery Cross reread before the season started. I started like a year ago and am still only at Jocasta’s wedding because I just don’t care enough to actually get through it.)

Which brings us here. I am tired. I have already ranted and raged and yelled and swore and wrote far too many words about the gratuitous overuse of rape in the Outlanderverse. It fucking has its own tag for fuck’s sake.

So here’s a recap. And then I think I’m done looking at this show in detail. Not because the idiot fans insist on coming to my notes to tell me to fuck off if I don’t like the show. Not because the crew are condescending douchecanoes. Not because the author is a misogynist garbage heap. But because spending an hour of my time for a few weeks out of the year to write these things isn’t worth it. I did it for as long as I did because it took so little time. So why not? But yeah, it’s not even worth that tiny commitment anymore.

And to the people who I know will @ me about how no one was forcing me to stick around and I could have quit any time, yeah, no shit captain obvious, I know that. Fuck off already. I stuck around because I really liked the little corner of the fandom that I’d found. I made some awesome friends. Most of those friends have since quit the fandom. I’m really glad to have them in my life outside of this little corner of the internet. And it was a fun writing exercise. I don’t really like the show anymore, but I enjoyed building an argument about why I don’t like it and think it’s bad that has valid points behind it. Especially considering how blindly overly adoring a bunch of the fandom is about it. But now I think I’d rather consume Outlander content as pretty people in pretty period costumes in gifsets. Or like, on in the background but not really paying close attention. Why not quit altogether? Because to quote the great Ron Swanson (I’m halfway through a Parks rewatch and I just love that show a lot ok.), I can do what I want. And besides, there’s like a fucking library’s worth of fics that I haven’t read and have been meaning to. And I like the characters enough to want to keep reading about them in stories that are better than the canon. (Bless you fic writers, blesssss.)

So. Was this whole ramble self-indulgent and overly serious for a fucking TV show? Absofuckinglutely. But please see the aforementioned Swansonism.

Alright, fuckos. Let’s do this.

This is a Roberts brainchild, isn’t it. *checks credits* Yup. Knew it. This feels very much like a Roberts special. In that he is probs quite pleased with himself but like, it’s crap.

Yes, we ARE doing ANOTHER rape story! But look! It’s a disassociation montage! It’s the ‘60s, get it?! There are callbacks! An orange from the king in season 2! A vase from season 1! A rabbit from season 3! An amber-looking dragonfly! Jamie with the young hair spouting off book lines! ApPrEcIaTe MuH aRt! We are so good at finding new and creative ways to rape our characters! Fuck off, twatwaffle. You are the worst.

Like, does Roger feel left out at this point? He’s only been hanged. Literally everyone else has either been raped, been sexually assaulted, or been threatened with rape and/or sexual assault.

“But it’s not gratuitous! Look! They’re all so different! Jamie’s was overly graphic and he got a half a season to brood about! We manged to not show much of Fergus’ (but still showed a thrust) because he’s a child and it was just a plot device for Jamie and not actually about him! Mary’s was about Fred! Claire’s with the king was about Jamie! Jamie’s with Geneva was shot like p0rn! Marsali being threatened by the sailors was to motivate Fergus! Bree’s was about the other people in the room and Roger! Claire’s really has no purpose because she’s already been kidnapped and beaten, and that is super traumatic, and we’re gonna wrap it up with a bow by the end of the episode!”

This fucking show, guys. This fucking show.

Bonus points* for the Black character spouting off the superstitious stuff.

*By bonus points I mean this show, and the books are absolute shit on matters of race. The books especially.

The cast and crew have 100% heard everyone’s thoughts on the overuse of rape in the Outlanderverse. And their response has been to include more and more of it. We had a whole season of one character’s arc being about her rape and literally as soon as that was resolved, they gang rape another character. It really does tell you as much as you need to know about them. Lazy. Fucking. Cowards.

Kidnapping not enough trauma? Let’s add some gang rape! Gang rape not enough trauma? Let’s add visualizing that your daughter and grandchild are dead! Just like Fred died! This show really brings trauma p0rn to a whole new level.

Called the Bree and Roger shit.

This scene with the men rallying to go save Claire is like another layer of fuck you. Bree, you stay home, men, give your hero lines and let’s have a getting ready montage. Because your hero moment is what this is really all about. And your manpain about killing someone. *screams into a pillow*

The petty side of me is happy that it was Fergus and Young Ian who are with Claire when they find her and not Roger. Her two sons...

Why yes, I am judging all of the fans who like get their panties all wet over Jamie being like “It is I who kills for her.” Like “yeah go ahead and rape and beat Claire within an inch of her life if it means the big strong man gets to come in and save her and say something intense.” Fuck off and go take a hard look at yourself and what that says about you.

“Was there an Indian there?” “Nope, he wouldn’t help you because LiOnEl but somehow was able to peace out when it was in his interest. Because he is as bad as the ones who actually raped you.”

The Bree and Claire hug makes me both sad and angry. I want to hug them both and take them out of this fucking place and tell them that they’ve been done dirty and deserved fucking better from the writers.

Glad Marsali gets in on the hug. Claire’s two remaining daughters.

Claire’s “I have fucking survived” speech is like the one time she she actually talks about herself not in relation to a man. It’s about her. Claire. HOWEVER! It is epically fucked up that a woman needs to check off all the trauma she’s endured to show she’s a strong character.

So. Fucked. Up.

The fact that we’re spending time on Roger’s manpain about killing someone also really tells us a lot about the show’s feelings toward women. Yeah, killing someone is a big deal. It’s normal and expected to have feelings about it. But the juxtaposition of Claire’s speech about all of her traumas with Roger being like yeah, I killed a guy who had kidnapped, beaten and raped your mom is like, read the room, bro/writers.

The fact that the men put Claire’s rapist in her surgery, her space, her place of healing, where she is able to be most herself, makes me want to punch each and every one of them in the throat. Like seriously. Fuck each and every one of them.

Also Lionel is like cartoonishly terrible. Not that nuance has ever been this show’s strong suit. But like come the fuck on.

Marsali killing Lionel is the one thing about this episode that I didn’t hate. The men are all like “We kill for Claire! Let’s all rally in this montage and go do the manly thing of defending the woman!” Marsali is just like, yeah, that’s my Ma you fucked with. She shows some agency. She doesn’t do it in a performative way for the other men or for Claire like the guys do. She just knows this fuck needs to die, knows it’s gonna be hard for her and might damn her soul (don’t worry Marsali, all that religion crap is bullshit), and does it anyway.

Marsali’s arc has been my favorite of this whole fucking series. The one bright spot I was hanging on to all of this season especially.

Her quick scene with Jamie doesn’t bother me like Roger’s does. Because Roger is like oh no, I killed a guy! Can you forgive me? For killing a rapist? Like fuck off, bro. And Marsali is like yeah, I killed a guy. I hope I’m not damned for it, but the guy needed to die so I did it.

Also like, Richard had potential to not be cartoonishly bad. But like nope. “He reaped what he sowed, but cLeArLy I’m gonna need to escalate this further. Because manly men can’t let shit go.”

Fuck all men, tbh.

*googles how to emigrate to Themyscira*

Jamie’s speech that’s like supposed to parallel Claire’s can fuck all the way off. Giving him the last voice over just underscores how this was all about men. Not Claire. But the men. Fuuuuck everything.

Look! Everything’s fine again! Back to normal! Peaceful for a bit! With a cheesy af on the nose storm coming! So you know something bad’s coming! In case you forgot!

And Jamie got a book line. So it’s all good now.

And don’t worry about Claire, y’all. She feels safe now. Her and Jamie fucked it out.

It’s amazing, in retrospect, that I ever let this story suck me in so much.

Happy Mother’s Day! See you on the other side of the hiatus.

#*#outlander starz #outlander 5x12 #drunj!der yells about outlander #rape in outlander

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titusmoody · 3 years ago

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2021 Q2 stuff

Games

Return of the Obra Dinn -- Very different. A great experience to play, it doesn’t use any typical “gamer” skills or knowledge. It also hit on a lot of my personally prefered sensibilities (stories self-contained to ships, non-linear storytelling, mysteries, and meticulous attention to detail)

Kentucky Route Zero -- Even more different. I’m glad I played it for the atmosphere, though it didn’t click with me the way Obra Dinn did. Extremely atmospheric and cool, but also has a strong academic curiosity to it.

DOOM (2016)-- Okay, we’re back to regular video games. Everything about this one seems very carefully crafted. I had a good, mindless time with this one.

Spider-Man -- Not as well-crafted as DOOM, but also less juvenile. I also had a good, mindless time with this one.

Metroid: Samus Returns -- Feels like Metroid. The moment-to-moment combat is different than Super Metriod and Fusion, which is a nice way to keep things from getting stale.

Shadow and Bone -- Sometimes tropes exist because they make for good stories. This show was a good example of that.

Pani Poni Dash -- WTF Japan, in a good way

Princess Tutu -- Much like I felt about Cowboy Bebop, this show was very well-made and I had an easy time appreciating what it was doing, though in the end it’s not the kind of thing that’s really for me

Miss Kobayashi’s Dragon Maid -- Pleasant to watch, mostly lighthearted but could definitely have emotional moments here and there to keep you interested.

Kakegurui -- Shows like this are the reason anime fans are so self-depricating. It was thoroughly trashy, but I’d be lying if I said that the trashiness didn’t lead to a lot of fun.

Love, Chunibyo, and other Delusions -- An excellent comfort-watch. About a high-schooler trying to run away from his cringe-y middle school phase. I definitely have criticisms of it, but I’m also definitely going to watch it again.

Devilman Crybaby -- I swear, Masaaki Uasa takes the most overdone premises and portrays them in such bonkers ways that they become pretty cool. This isn’t one of the best examples of that, but it still works.

Gundam 0080: War in the Pocket -- Part of Gundam’s brand is that it shows the effect of wars on individuals. This is a great small-scale example of that.

She-Ra -- It’s good. The plot kinda meanders and the backstory lore is presented confusingly/unclearly at times. But the central characters are good enough to carry at least a few seasons, and the secondary characters really elevate the whole thing. I was personally very fond of Scorpia as well as the way the writers used Entrapta both in the plot and as a character foil.

Chernobyl -- Second time watching this, it’s definitely a favorite.

Movies

Mamma Mia: Here We Go Again -- You already know what this is like and whether or not you enjoy the sort of thing it is.

Moulin Rouge -- It’s hard to watch Mamma Mia without thinking of this one, so I watched it soon after.

Minari -- My personal reward for being fully vaccinated was to go to the movies by myself. This was a good movie, though overshadowed by the circumstances in which I saw it. I would’ve been very happy to be seeing anything.

My Fair Lady -- An iconic pop-culture touchstone. Not my favorite musical, for sure.

Interstellar -- This movie is in the odd position of currently being my favorite Christopher Nolan movie despite the fact that I don’t like it nearly as much as I liked either The Dark Knight or Memento when I saw those for the first time.

The Perfect Storm -- George Clooney, big wave.

Legally Blonde -- I didn’t hear the term “sitcom” until oddly late in life, and when I heard it, I assumed it meant movies like this where there aren’t a ton of jokes, but the characters are constantly in inherently funny situations. I don’t like this type of humor that much.

Jurassic Park -- A big “moral” of the movie was “don’t trust computers to do anything important” but today it’s hard not to get the message as “never underpay your system administrator” instead.

Apollo 13 -- Pretty good

ET -- I really didn’t like this movie and I don’t quite know what it doesn’t do that Jurassic Park and Indiana Jones do. Imminent danger seem to be part of it, but I don’t think that’s the whole picture.

The Day After Tomorrow -- *shrug* I had fun watching it

Pearl Harbor -- expected it to be bad, it was bad. It was definitely bad in interesting ways, and was almost good a lot of the time.

Die Hard -- I was looking for suspenseful movies with clear character motivation and this fit the description. It was good, though I didn’t like it quite as much as I hoped to.

Star Trek V -- Star Trek is often silly and I just can’t get on board with some of the silliness, like the last part of this movie.

Terminator 2 -- Yeah, I do like suspense. I don’t think I’ll look back on this as a favorite, but I was pretty into it. Moreso than Die Hard.

Cast Away -- Pretty good

Predator -- Somewhere between Die Hard and Terminator 2. I was a bit bored by the end, which ironically was the part that most closely resembled what I was looking for.

Braveheart -- I think romanticising medieval Europe is fun and cool. Unfortunately this movie has some creepy sexual hang-ups as well as rampant “no step on snek” energy that ruin the whole thing.

Redline -- Just a cool looking movie

State of Play -- I forgot the whole plot of this already, but I enjoyed it

Troy -- It’s not as bad as its reputation suggests, though the end does get really over-the-top cheesy

Demon Slayer -- I liked going to the movies by myself so much the first time that I did it again. This time it was in a much more full theater and I was one of very few people over 17. Fun action anime movie, though.

Gladiator -- I’m so disappointed that I didn’t connect to this movie, since over and over I felt like I was very close to loving it. I think the revenge motivation was what ultimately prevented me from really getting into it.

K-19: The Widowmaker -- Hell yeah, extremely tense submarine scenes, that’s exactly what I wanted.

The Manchurian Candidate (2004) -- The movie felt like it wanted its premise to feel plausible, but it really didn’t. Still pretty good, though

The Big Lebowski -- Still not a big fan of this one.

The Naked Gun -- This confirms that my sense of humor has not gotten more refined since age 17 or so. I still thought this was pretty funny.

Dances With Wolves -- Mostly just boring.

Angels and Demons -- Even at age 15 the book’s riddles and clues premise felt a bit too contrived. The movie has the additional disadvantage that verbal explanations are the most boring way to resolve questions, unlike books where words are all you have.

Chinatown -- Meh, a fine detective story but nothing really clicked with me. The director’s life is wild, though. He escaped the holocaust, had his pregnant wife murdered by the Manson family, and is currently a fugitive from justice for raping a 13 year old.

The Core -- Like The Perfect Storm, appealing in the “so bad it’s good” way.

Porco Rosso -- Think the type of character study of Kiki’s Delivery Service, but about a middle-aged man, so it doesn’t resonate with Miyazaki’s audience enough for many people to talk about it.

Uncut Gems -- My second time watching it, it’s definitely a favorite. Between this and A Serious Man, I seem to love extremely stressful movies about mediocre jewish men.

The Manchurian Candidate (1962) -- Interesting to compare/contrast with the other version. I like both

Galaxy Quest -- another movie that fits my personal definition of what “sitcom” should mean. Again, not my favorite type of humor

Fantastic Planet -- Looks like something between the animated sketches in Monty Python and Pink Floyd’s The Wall. Very weird, it personally really worked for me.

Scarface -- I think romanticising organized crime is fun and cool.

In the Heights -- colorful, catchy, happy and fun.

Books

The House in the Cerulean Sea -- a good comfort-read. very simplistic and a little clunky and amateur-ish, but ultimately pretty cute.

There There -- not a comfort-read at all. A super raw look at the modern life of a variety of Native American situations. Very harsh but also interesting.

Six of Crows -- Fine YA fantasy fluff.

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alliedn · 4 years ago

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Carthago, “Thia” for friends: human, she/her, 17, main character of my sci-fi story, dyed 4c hair, dumbass cutiepie

Backstory in a nuthshell: *THIS STORY IS SET IN ANOTHER GALAXY* Found and adopted as a baby by a Earth-descendant, non-human family (more details in the future), Carthago grows up happy and healthy until she finds out she has magical powers -electricity, abnormal strength and dexterity, this kinda stuff- and gets kidnapped to fight in a gladiator arena at the age of 13. (the place and the guards SUCK and she gets hurt with a weird weapon that almost kills her and makes her lose half her hair and her breasts. she has ptsd but this also makes fighting easier so she jokes about it to cope.) She grows up, gets stronger, etc., breaks free with her gladiator buddies and starts a journey to reunite with her family.

Also she meets new friends and they eventually overthrow the fascist government of her galaxy. That’s like, the main plot.

Also there’s no white people in space because 1)It’s my story and I can do whatever I want and 2)If A:TLA did it so can I

#oc tag #carthago #thia #scifi story #original character #artists on tumblr #digital art #character design #backstory #i've had this oc since HIGH SCHOOL jeez #i also made all her friends #...YES IT'S A FOUND FAMILY TROPE #and in the end she also reunites with her adoptive family #so she gets dozens of people who love and care about her #IT'S WHAT SHE DESERVES

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dragolianx · 5 years ago

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How I’d rewrite Miraculous Ladybug a.k.a Miraculous Ladybug Final Mix

Before I start I just want to say, I actually loved this show. I always appreciate shows that establish their own universe separate from the big publishers. Ben 10, Generator Rex, Big Hero 6, hell My Life as a Teenage Robot does this well.

When I started Miraculous I had high hopes and season 1 definitely delivered. However, season 2 had some issues and season 3 only made it worse.

Say what you want about the show, but there was a noticeable shift in quality between season’s 1 and 2 and an even bigger drop in season 3.

I won’t touch season 1 since it did its job well. It established the world and explained some of the rules and lore about Kwami and Miraculous powers.

Now the end of season 1 gave us new antagonist in Lila. Her arrival shook up the established flow of the school. She was the new kid so she hooked everyone with stories of traveling around the world. However she had a habit of lying about herself to make herself seem interesting.

She lied about knowing ladybug and about being the latest in a family of superheroes.

Marinette knows that she’s lying because Lila claims to be Ladybug’s BFF, but she never met Lila before that day.

We then get the episode Volpina and so far this was the closest Ladybug came to surrendering. The only other akuma to get close to getting her earrings was Lady Wifi at this point. She knew how to manipulate people, even if she was sloppy with her lies at first.

When season 2 starts however she’s no where to be seen until the season finale, Hero’s Day. This is where I’d make my first change.

Season 2

Make Lila stick around for season 2 instead of adding her back at the end of the season

Her absence is attributed to her “Traveling around the world” when she’d really just at home skipping school.

Her mom believes that the school is closed due to constant akuma attacks. The problem with this is that the school would most definitely have called her about her daughter’s absence. Or at the every least gave her a courtesy call about how the trip is going. It also make’s Lila’s mom seem incompetent because she doesn’t bother to go her kid’s school.

If there’s ever a parent teacher conference this lie would be easily dealt with.

Instead have the season 3 premiere episode “Chameleon” be the season 2 premiere. Instead of having the class change the seating order because she came back have her manipulate it so that she’s sitting next to Adrian and that Marinette is sent to the back.

Instead of Adrian telling Marinette to take the high road, have him warn her that without actual proof she’d just be isolated even more by the class. Adrian then promises to help Marinette whenever he can.

This worked in the episode because it showed just how persuasive she could be and how she could sway people she barely knows.

The episode would play out the same way, except at the end Bustier has Adrian stay where he is because she insists that he be a “good role model” and help Lila because of her “Disabilities”

In the end, the seating order is changed permanently and Marinette is moved to the back of the class. Lila begins to wedge herself between Marinette and the class.

Other big changes I’d make to season 2 would be moving Zombizou closer to the episode Despair Bear. At least make them be within an episode of each other. These will be the seeds for Chloe’s redemption, which can work in the show if Astruc would get his head out of his ass and learn how to write his damn characters.

Going off topic for a bit, but Kevin Levin from Ben 10 has tried to kill Ben for most of the original series run. After his mutation he tries to frame Ben for crimes and then off him when they were dragged into a gladiator match. He even teamed up with Vilgax to trap Ben in the Null Void and take the Omnitrix.

When Alien Force rolls around Kevin still tries to kill Ben, but when he meets a Majester Plumber and witnesses him die because of weapon deal gone bad, the same deal that Kevin set up, he realizes that he could be good and teams up with Ben and Gwen.

The same can be said for Chloe.

The most she’s done was prank Marinette, get Alya suspended, and plagiarize Marinette’s work.

As an antagonist she sucked. Hard.

Over the course of season 2 Chloe should steadily get better at not bossing people around and stop playing the “Mayor’s Daughter” card for her own selfish reasons.

At the same time, we should get small hints at Lila driving a wedge between Marinette and the class.

It could just be her mentioning how flaky Marinette can be because she’s never on time for events or just disappears sometimes.

It’d be hard for Marinette to counter this without revealing herself so the class begins to question her.

The season plays differently with Chloe mellowing out and Lila planting seeds of doubt.

Another thing worth mentioning is how Adrian/Chat Noir factors into the show.

In season 3 we see him miss his mom more, but it comes out of nowhere. We the audience know his mom is dead and assume he’s sad about it, but we don’t get actual scenes about this until Gorizilla and it’s not touched again until Felix.

In season 2 we should get more of how Adrian handles his isolation and how the loss of his mom affects him.

Have him lean on Marinette for support like how he asked her to lean on him for help with Lila.

Also have Chat Noir more involved with the whole temp hero thing and have Master Fu keep him in the loop.

Balance seems to be a central theme to the show, but Ladybug seems to be holding all the cards between the duo and Chat Noir is just in the background.

This makes him seem more like a sidekick instead of a partner since he’s almost never consulted when it comes to choosing heroes.

When Anansi happens have Adrian pick Nino to use the Turtle Miraculous and save Alya

The same can be said for how Chloe gets the Bee Miraculous in Style Queen.

He’s known her the longest and sees that she’s been making an honest effort to change, so as Chat Noir her gives her the Bee Miraculous.

This way Chloe gets to have her secret identity and prove herself to Ladybug and Chat Noir as a worthy hero.

Queen Wasp is removed from the series entirely

Maledictator happens because Audrey threatens to go back to New York and Chloe doesn’t know if she wants to go with her or not because she knows she wants a better relationship with her mom, but she’s also making progress at being a better person at school.

Lila sets off the celebration for Chloe leaving and that make Chloe want to leave because she thought she was getting better, but it seems as if her efforts weren’t good enough. Marinette doesn’t participate and defends Chloe since she hasn’t bothered Marinette or anyone else for the last few weeks and Lila takes this opportunity to make it seem like Marinette wants Chloe to stick around and bully the class.

Instead of defending herself Marinette chases after Chloe, and Adrian follows soon after once he hears the news.

The episode play nearly the same way until Chat Noir get whammied by Maledictator and becomes an actual cat.

Ladybug then gives Chloe the Bee Miraculous again and the episode plays out the same way until the end where Marinette offers to be Chloe’s friend and she accepts

Event play out the same leading up to heroes day and the season ends the same way. However, as a reward for their bravery in facing Hawkmoth and Mayura: Rena Rouge, Carapace, and Queen Bee get to keep their Miraculous

Season 3

Since we moved Chameleon up a season and removed Queen Wasp, we’ll give those two episodes to season 3 as exposition episodes. One where Fu explains in detail to the current holders what happened to the order.

Have it be different from Feast sense the whole reason was Ludacris to begin with. Introduce the concept of an order dedicated to chaos that wants to use the Mirculous for various reasons. The temple is attacked and Fu managed to get away with the main miracle box with the Ladybug and Cat Miraculous in it.

We also get Fu choosing Ladybug to be the new guardian if something should happen to him with the other heroes agreeing that it should be her.

She begins her training after this episode

In another episode explain what happened to Adrian’s mom

We know that she has some sort of sickness keeping her in a coma and that only the Miraculous can fix it. We know because Adrian mentions how Natalie showed the same symptoms his mom did before she “died”

Have Gabriel remember what caused her to use the Peacock and how he found them to begin with. Have him study the grimoire to learn how to use Ladybug and Chat Noir’s Miraculous to save his wife.

Remove Animaestro since it adds nothing to the plot and was just an excuse for Astruc to shamelessly insert himself into his own show.

As a writer this is a major sin if done wrong. And while other cartoon creators have done this, the make their appearances cameos and don’t take up a majority of the episode complaining

The love Hexagon remains mostly the same, but Marinette doesn’t get super jealous of Kagami and ends becoming friends with her after getting to know her better. Meanwhile have Adrian subconsciously react to Luka’s presence around Marinette and have him question why when he thinks he’s dead set on loving Ladybug.

The episodes leading up to Ikari Gozen remain the same except Kagami doesn’t reveal her identity in the fight and Chat Noir gives her the Dragon Miraculous before she get captured by her mother.

Chat Blanc would be completely different. Instead of a what if episode, we have Chat Noir gets akumatized because it’s the anniversary of his mother’s death and he can’t hide how sad he is. Hawkmoth capitalizes on this and Chat Blanc is born. The other heroes show up to deal with the threat and the new reserves show up to help as well.

Chat Blanc almost sets off a world wide Cataclysm, but Viperion uses second chance to warn them. Have Monkey King disrupt Chat Blanc’s powers and then have Queen Wasp paralyze him so Ladybug can find the Akuma and cure it.

Felix plays differently as well. For starters have him not be related to Adrian and make him look different from him entirely. Felix and the other Quantic kids can be in a different class altogether. His introduction can play into the whole Lila situation as he and the other quantic kids don’t buy into her lies, but they can’t prove any of them are false.

For this to work even more, Lila’s lie of knowing Prince Ali doesn’t come up since she didn’t leave the school.

Now comes the big episode of the season, Ladybug.

This episode was good for so many reasons, but this time we’ll up the ante.

Lila still plants the necklace and test answers, but this time she goes further.

When they’re sent to the principal’s office she throws herself down the stairs can then claims that Marinette pushed her.

This time the evidence is damning and Lila’s mom is called. With the actual scrapes and bruises to help sell the story along with the test answers being put in Marinette’s bag and the Lila’s necklace in her locker Marinette is expelled and the same events as the episode take place, but this time Nino isn’t akumatized because it’s implied that he’s known Marinette for a long time so he should know she’d never get physical with someone or cheat (But she has taken the occasional cell phone)

Alya looks for clues to prove that Marinette is innocent and Nino joins along with Adrian.

The trail goes cold and then the episode pans out the same way. In the end Chloe makes a big scene about Marinette being expelled and find proof that she didn’t cheat on the test and didn’t steal the necklace, but can’t ultimately prove that Marinette didn’t push Lila. She then uses the “Mayor’s Daughter” card to get Marinette back in school, but the damage has been done. Most of the class believes Lila over Marinette and begin to isolate her. Although, Alya decides to finally do some fact checking on Lila after the string of incidents that morning and finds out that she’s been lying. She apologizes for how she’s been acting and nukes the ladyblog since she deems it “tainted” and commits to the school blog.

This shows a great deal of growth for Alya since he doesn’t feel the need to follow superheroes since she is one, and is willing to give up something for her friend’s sake.

After all of this happens Marinette is stripped of her class rep title and the Class nominates Lila.

Hearthunter and Miracle Queen don’t happen at all sense Chloe is fully redeemed at this point. Instead, Lila returns as Volpina to lure out Fu since Hawkmoth managed to figure out that he was in town after Hero’s Day.

Volpina creates an illusion to lure him out, but Fu realizes this and runs to find Marinette while in disguise. He gives her the Miracle Box and he loses his memories. Marinette stashes the box in her room before trying to get him somewhere safe, but when he gets to the train station he’s Akumatized by Hawkmoth and Ladybug and the other heroes must fight their mentor.

After the battle Marinette calls Marianne to take care of Fu and the two leave Paris while the other heroes watch the train depart with heavy hearts.

My biggest gripes with the show are how the character are never allowed to grow and how much the status quo remains mostly the same at the end of each episode.

Almost none of what happens in a regular episode changes the flow of the story, and only the season premieres and finales seem to hold any weight. Not to mention Astruc’s obvious bias towards certain characters. He expects Marinette to be super mature, but she’s 14. He stated that he hates Chloe and Felix and goes out of his way to treat them like garbage.

In Felix’s debut episode he had him make an enemy with damn near the entire cast and even had Ladybug deck him.

Astruc for the most part doesn’t change anything and plays things too safe, unless it’s pointless fanservice that just serves to anger the fans even more.

I rewrote the last two season of Miraculous because for the most part, it’s become a sinking ship that could have easily been fixed.

#miraculous ladybug #miraculous tales of ladybug and chat noir #miraculous season 3 #miraculous ladybug rerwite #ml salt #Miraculous ladybug salt #marinette dupen-chang #adrien agreste #alya cesaire #Nino lahiffe #chloe burgeois #gabriel agreste #ladybug #chat noir #carapace #rena rouge #queen bee #Astruc can't write for shit

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shinylitwick94 · 4 years ago

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Finished “The Way of Kings”, by Brandon Sanderson, first in the Stormlight Archive.

I liked it, but the things that annoy me about the way Sanderson writes didn’t magically stop annoying me. Go figure.

Warning: Spoilers ahead for the whole book! And very long post!

Dislikes:

1. This book is far, far too long.

It’s 1000 pages long and...not much happens. It’s mainly worldbuilding and setup for future books. A few things do happen, of course, but they’re mostly concentrated at the end of the book. Almost nothing happens in the entire middle portion.

It depends on the POV characters of course, but really, you could remove almost half of it and have a better book. Dalinar’s story is the only one where I feel you wouldn’t have to cut out much. Shallan could easily be 1/3 shorter. And in Kaladin’s case you could (and IMHO opinion should) remove half of it.

Kaladin’s story in particular I found was repetitive and dragged down the pace of the book. You could remove or condense half of those small incidents and still keep the story. Same for his flashbacks. You could have had 1 flashback or maybe 2, and still keep the same elements, instead of what felt like 20.

I’ve had this complaint about a lot of other fantasy books (Wheel of Time, Malazan, Memory, Sorrow, Thorn, even ASOIAF...), but the fact is that the genre is far too willing to tolerate barely edited 500+ page monstrosities. Yes, sometimes it’s justified, but most of the time it’s really not. This didn’t bother me as much when I was a 12 year old with nothing else to do, but as an adult, having to push through 500 pages of fluff to get to a story pisses me off.

To contrast, as usual when I complain about this, the entirety of LOTR is also roughly a thousand pages long. Frodo went to Mordor and back in the time it took Kaladin to get out of Sadeas’ warcamp.

2. I have multiple issues with Sanderson’s writing.

Two major problems here: repetitiveness and action scenes too detailed for my taste.

Sometimes both at the same time.

By which I mean stuff like this:

“Ten heartbeats after the passing of the guards, Szeth Lashed himself to the wall. That direction became down for him, and he was able to run up the side of the stone fortification. As he reached the top, he leaped forward, then briefly Lashed himself backward. He spun over the top of the wall in a tucked flip, then Lashed himself back to the wall again. He came down with feet planted on the stones, facing the ground. He ran and Lashed himself downward again, dropping the last few feet”

(quote thing not working, so italics it is)

This sort of paragraph makes my eyes bleed. And Sanderson’s action scenes are unfortunately always full of this stuff. This was the primary thing that made me decide not to continue with Mistborn and was also the thing that made me drop this book the first time, because the first chapter is like this.

Basically what happens here is that Sanderson really likes his worldbuilding and his magic. So he feels the need to beat you over the head with them again and again and again and again.

It’s most noticeable in action scenes like this, and granted I’m not super fond of action in the first place and tend to skim it, but it also happens in regular prose, since he also apparently thinks his readers have the attention span of a goldfish and so repeatedly explains something he already explained three chapters ago.

In the first ten chapters I felt like he taught me how spheres worked a good 4-5 times.

It just makes me feel like I’m going through a forced tutorial and being treated like a child. FFS trust that your readers can pick up on stuff on their own.

From what I’ve seen a lot of people actually like this overexplaining BS, so it’s clearly a matter of taste, but it sure as hell isn’t to my taste.

Things I’m neutral on:

Characters

The characters land themselves in neutral because while there are some very good ones (hi Dalinar!), most of them are just kind of meh.

Looking at our POV characters, I’d class both Shallan and Kaladin as meh. They’re interesting enough, but not really captivating to read. Just very standard archetypal characters. Nothing wrong with them, but also nothing stands out.

Dalinar and maybe Szeth are the only POV that I really enjoyed as characters on their own.

The secondary cast is fine, with some characters I really liked (Navani, Jasnah, Sadeas - yes, I know, I’ll get to that in a second) and a lot of others that were just ok.

Bridge Four for me falls into this last category. I mentioned in an earlier post that this part of the plot brings to mind Spartacus, Gladiator and now that I think about it even prison movies. Essentially things where an heroic main character is dumped in with a group of dispirited hopeless men and tries to do something with them, which is Kaladin’s whole story here. More importantly, the characters in Bridge Four also largely follow the archetypes for this kind of setting - you have the Gentle Big Guy, the Clever Guy, the Guy Who Does Not Trust The Hero, The Unexpectedly Cultured Guy, The Old Veteran, etc.

Which at the end of the day meant I had trouble connecting to bridge four because I couldn’t look past the archetypes.

To get back to Sadeas - he’s introduced as such an obviously evil character that I really hoped he’d turn out to be something else up until the very end. It would have been far more interesting to have him be a genuine if rahter unscrupulous rival than a very boring, very predictable traitor. This hope is what made me like him so much at first. Alas, it was not to be.

Things I liked:

1. Worldbuilding

Of course.This is what Sanderson is best at and it really shines through here.

Roshar is massively detailed at every level and Sanderson makes sure his big choices regarding the world’s setup are reflected in both the natural world and the societies he creates.

I loved the focus on the natural world, in particular. It’s an aspect that most other fantasy authors don’t usually devote a lot of time to, but Sanderson clearly loves it.

Forget adaptations - I’d kill for an Attenborough-esque documentary on Roshar’s fauna and flora!

The worldbuilding feels a little bit shallower when it comes to peoples and societies, but really this is just nitpicking on my part, it’s great overall.

2. Plot

The plot itself is pretty interesting, even if the pacing could use some improvement.

I particularly liked Dalinar’s part, and Shallan’s once it actually picks up speed.

The ending was also very intense and a lot of fun to read, with what I felt was a good mix of action and big reveals.

Honestly, regardless of my complaining above, I enjoyed this book and had a great time reading it. It’s fun, it just takes a while to get there. And I will be picking up the rest of the series eventually.

For me it’s a solid 4 stars.

As for recommending this, I’d say it’s good for people who already enjoy fantasy a bit, are looking for something completely different and don’t mind a slow start. Oh, and people who want a series that is ongoing but very likely to be finished in a timely manner. Sanderson delivers when it comes to his writing. No Martin/Rothfuss surprises here.

#shinylitwick reads books #stormlight archive #the way of kings

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felassanis · 6 years ago

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Everything I love about Assassin’s Creed

1. Ezio da la la la

2. If you idle for long enough in Odyssey Ikaros comes and lands on Alexios’s/Kassandra’s arm and then alexios/Kassandra will greet him.

3. Edward’s outfit is by far my favourite Assassin robe. It looks so fooking cool.

4. Alkibiades

5. The first mission in Assassin’s Creed III. Finding the temple and it coming alive with all the lights and the humming was so fucking cool and the theatre with Haytham was such a good way to start the game, I loved the environment that went with the theatre and the parkour was really good too, everything was good even though I had no idea why we were there in the first place lol.

6. SHAUN HASTINGS

7. Edward’s tattoos being the only reason why I go whaling in AC:Black flag

8. The dynamic between Jacob and Evie, I’ve always wanted a twin duo in a game and Jacob and Evie Frye were awesome and y’all keep sleeping on them.

9. The different colour schemes in Assassin’s Creed 2 for the different cities gave the locations their own feel and vibe and it differentiated them from each other while also ensuring that the landscapes were utterly gorgeous. For example, Venice had cooler colours, very blue and silver while Florence was warmer, with more orange and brown thrown into the mix. It really gave those maps their own identity and it was great.

10. All of Lineage. all of it, it was flipping fantastic and I know it’s not a game but it was brilliant and the other Assassin’s Creed movie will never top it despite Michael Fasbender being in it.

11. That cutscene in Black Flag where Blackbeard lights his beard on fire, I love that historical accuracy because it was very likely true and it’s so SO bad-fucking-ass

12. Alkibiades

13. How quickly I fell in love with Frederico Auditore despite the fella only having about 5 lines.

14. Also just how quickly I came to love the Auditore family, that was how well written they were, that I fell in love after 30 minutes with them.

15. LEONARDO DA VINCI

16. Desmond Miles’s snark.

17. ‘Hey whatta matta with you altair,’

18. SHAUN HASTINGS

19. How buffy Kassandra is

20. The hookblade was actually amazing in Revelations and I’m in full support that it shouldbe brought back. The noise it made was also oddly satisfying too?

21. The Glyphs in AC2 were spooky and ominous and I refused to do the last mission until I had found all of them and uncovered the Truth. Because that entire side quest was full of anticipation and the creepy vibe the Glyphs gave off and how the footage of Adam and Eve was cut up and glitchy was just really interesting and it peaked with a climax.

22. LEONARDO DA VINCI

23. The golden beads in Alexios’s hair.

24. And Alexios just being an overall gorgeous human being who’s face was chiselled by the gods.

25. The flying machine mission in AC2 while really aggravating if you didn’t do it the first time was also really fun and getting to see Leonardo all giddy and happy made it worth it.

26. I don’t know if it’s just me? but Connor’s hair? like I know for a fact that I like men with long hair but something about his hair and the feather intertwined into it was just really appealing? and while I know why Connor shaved his hair I couldn’t help but screech when he did lmao but that’s because it’s obviously not my tradition and it’s abnormal to me. pfft

27. Revelations is one of the best AC games and I’ll fight anyone on this. It was phenomenal given how it finally concluded Ezio’s story (and remember Ezio was the face of the franchise for years and he was fan favourite and still is so there were some pressure and expectations) and how it also concluded Altair’s story.

28. Altair wasn’t that interesting in the original game but Revelations added depth and layers to his characters and made him way more intriguing. The game also gave this character important significance to the lore and I think that’s the perfect way to honour the guy who started it all. As much as we love Ezio, Altair came before and without him, Assassin’s Creed wouldn’t quite be the way it was today. (although it’s up to you if that’s a bad thing or not lmao)

29. And seeing Ezio old and matured, becoming this wise legend of a man was really cool and getting to play as him in his final journey was both heartbreaking but satisfactory.

30. I have to give a massive applause to Ubisoft for making Leonardo gay as well in Brotherhood prominently. I don’t think it was ever proven historically if he was? but it was rumoured? and yet Ubisoft went and made it canon giving that representation while also having Ezio outright say he’s okay with Leonardo dating men?! Like, in that time period if you were gay you could go to prison and the general view of homosexuality was that of disgust and yet Ezio is just here supporting his best friend? hell yes.

31. ALKIBIADES

32. I have certain feelings with Unity, but I won’t lie that the parkour was spot on in that game.

33. Gideon Emery....just Gideon Emery as Reginald Birch. The character’s a massive prick but god...that voice.

34. Connor mentioning his grandfather Edward as he’s sailing the Aquila.

35. Getting to see the wreck of the Jackdaw in Assassin’s Creed Freedom Cry was gut-wrenching.

36. Finally getting to pet animals in ACIII.

37. Finally getting to feed pigs in a video game ^^

38. SHAUN HASTINGS

39. OKay, I like Shaun because the guy is really entertaining and he’s British like me and I need to see this fucker in future games again...because after Syndicate he just vanishes and we got...Fucking Layla ugh.

40. The Naval combat in Black Flag is unmatched, fighting other ships never felt like a chore and it was fun and thrilling and the rewards felt deserving. And the feeling of taking down your first Man’o War is RIVETING.

41. Rebecca calling the Animus ‘Baby’

42. She’s another character I want to see come back. And she and Shaun better come back and be alive.

43. Lucy being a Templar was a plot twist I never saw coming but I was all for that angst especially when it seemed like they were setting up what I thought was the inevitable Desmond x Lucy romance. But I guessed wrong.

44. Yusuf Tazim being the joy and light of Revelations. fuck you Ubisoft

45. Ezio’s family theme song is the most iconic video game songs ever.

46. The introduction of Alkibiades in Odyssey, what a great way to introduce a character. like seriously, I fell in love with that fucker the moment he started speaking and felt up Kassandra’s arms while being half naked and wasted.

47. Bayek being a breath of fresh air in wonderfully written complex characters whose story was powerful and tragic. He needs a sequel.

48. Assassins Creed Brotherhood’s trailer being iconic.

49. When returning to Florence to retrieve the apple and you bring Ezio back to his old home only to see the ghosts of his entire family waiting for him. I was gobsmacked when that happened and it’s such a beautiful detail.

50. Mary Read/James Kidd being one of the best characters in Black Flag and leader in the ‘did not deserve it’ club. Every minute of her was flipping terrific and her significance in Edward’s story as one of the driving points that turned him into a better man was great.

51. I cried at the end of Black Flag.

52. The little text about Shaun sobbing when you look at the database on Desmond the dog in Syndicate.

53. The lip scar being shared between Desmond, Ezio and Altair was a cool detail.

54. The interchangeable cloaks in ACII.

55. Henry Green was so soft, kind and lovely and I honestly adore him.

56. Cane swords in Syndicate WERE AWESOME

57. NO fall damage in Odyssey. Keep this feature I don’t care how impossible it is for me to survive a jump off of a giant statue of a naked god it’s cool and I want it for every other game about to be released.

58. If you walk through grass in Origins Bayek sticks his hand out like that scene in Gladiator.

59. The scene in ACII Where Ezio uncovers his father’s robes from the chest and holds it up, It’s an incredible scene and the music fits so well with it and if you’ve watched Lineage it’s all the more amazing.

60. Rosa being pretty and terrifying in ACII.

61. The Bleeding effect being that other thing in lore that is SO BLOODY INTRIGUING and I wish it was explored a bit more. Can you actually imagine having the bleeding effect? where you can’t tell the past and the present apart? where you see ghosts from the past and hear voices no one else hears? jesus,..

62. getting answers about Clay/Subject 16. Ever since he left that writing in the wall with his own blood I was hooked on his story and thank god we got answers and a face to the legendary name. I wouldn’t mind more of him though.

63. I’ve always been fascinated with Native Americans and finally getting to explore them a bit more in ACIII proved to be interesting and I hope it was satisfactory representation for Native Americans.

64. finally getting to play in the present day in assassin’s creed brotherhood and 3, like actually getting to run around and explore as Desmond.

(I did a post like this on my old blog and I’ve rewrote them on here but I also got some new things, I just like having a post like this on my blog and I like seeing people who also agree with these brilliant features in this franchise, you can pretty much tell which two games are my favourite lol, Black Flag and 2 will always have a special place in my heart,)

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seyaryminamoto · 3 years ago

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I recently saw a video where GRRM talked about how he saw two different kinds of writers. He mentioned the gardener(planting the seed of an idea and letting it grow) and the architect(who plans out and organizes everything ahead of time). Obviously, every writer is a little bit of both but I was wondering which you relate to more and if you’d be willing to share some more about your own writing approaches and processes :)

I think I've answered similar questions in the past, but it'd be near impossible to dig it out in this ridiculously big, chaotic archive of my blog xD so I guess I'll answer it again, and if we come across the previous answers I've given, it'd even be fun to compare if there's anything different in the answer these days (?)

Personally, I think the best way to go about this is to have a mix of both things, but for me, it's in a very specific manner.

While I absolutely see the value in letting a story spiral and grow into whatever it wants to be, I have to say I don't think my best work comes from that. The lack of structure is similarly liberating and dangerous, because if your story's purpose isn't something you, as an author, have really made up your mind about, it's 100% possible that the story will end up going in very strange directions that MIGHT not make much sense, when you look at where you started out.

I've told this story a few times, but it bears repeating xD my first "serious" attempt at writing (by which I mean, I took it seriously, not that the content itself was super serious, since it was a trainwreck more often than not xD) started off as a perfectly happy romcom high school story! And tbh, to this day I love it as it is... but I know, I KNOW, that I totally warped the initial purpose and process of the story when, upon fulfilling the first bit of conflict in the story and leaving some massive loose ends I had to wrap up, I found myself at a loss because I had no idea how to continue. I was seriously, genuinely, at a loss for ideas and storylines to keep going. What, then, did I come up with?

... my happy romcom characters ended up embroiled in an organized crime catastrophe that has ZERO build-up in the first part of the story xD

(To the eagle-eyed who might have picked up something here... yes. That is 100% what I was poking fun at through Yang in Gladiator during the Fire Lord's Shadow arc. Yes. I mock myself. More accurately, I make Azula and Sokka mock my most questionable writing choices :'D)

Now, then, I had a very weird mess in my hands and I admit, it wasn't a great place to be at xD you see me now with my very, very small likelihood of falling into writer's block? Well, back then, I spent more time blocked than writing, for sure :'D and one of the reasons why that happened is because, while I had some ideas for what I wanted to write in the future? I didn't really have a set direction beyond "I want these and these characters as endgame relationships!", which is pretty much the most basic level of "plotting" you can pretend to do, as a writer xD And ironically, even then I was far more malleable and willing to experiment with whatever character combinations came up later, which even resulted in me discovering, well into writing a story, that some characters I absolutely did NOT conceive in a relationship were actually pretty good together! :'D

But that I had very little direction when I started writing that story was still a problem. I actually found more direction and built some more structure as I reached the last part of the story, and I will say, it's the strongest bit of it, by far xD (as evidence of what I'm saying, it was the first time I ever wrote an OUTLINE DOC! XD) but I have no doubts that, if I'd had the foresight to actually know where I was going, the story as a whole would be much much better, no matter how much I love it for what it is.

So! This particular writing experience of mine taught me countless things, among them, to actually ponder direction and purpose in stories instead of diving in blindlly. It's not really about having foreshadowing hints every ten minutes, which is what some people take as a sign of quality (I'll dare be quite controversial and say that not because you know what you'll write ten years down the line does it mean your story automatically makes sense... xD), it's about actually having a purpose in what you're building, a real direction, character arcs and plotlines that, to put it simply, work.

Therefore... I know for a fact that I can't be a full-blown plantser (or gardener) because I've tried it, and while I absolutely see the merits, the drawbacks are pretty sizable for me, and it just really doesn't work with my approach to storytelling.

Thus... If I MUST choose a category out of them both, I'd say I'm an architect, but the truth is I'm not an architect in the most strict sense of the word, either :'D

If you want a super strong building, you obviously need the best foundations for it. But you don't stop there, of course: erecting a building takes a lot of different efforts and processes if you really want your building to not only stand tall but to be a proper, decent place to live in. And while in real life, the reasonable thing would be to have a plan for each of those little details you have to build in, from filling the walls, to the type of flooring, down to even the decor... in writing, THIS is where I take the gardener approach! :'D

I don't know if I've said it in the past, but while sometimes I don't know how to start a story (which, despite my carelessness with the matter in the past, I've come to realize is a VERY delicate choice to make, one that can actually destroy my immersion in a story if it's a choice made carelessly), usually, I try to make myself think about where it's going, first of all. Currently, I have a few potential original projects rolling around in my head... and I don't know where they start :'D but I DO know where I'll take them, what the actual, ultimate climax of those stories would be. This, then, is the most basic foundation for a story, for me. I choose a destination, kinda, and then build the journey there :D

This is, loosely speaking, how I've built up Gladiator. And yet Gladiator, being the ridiculously big mess that it is, required a very unique plotting approach that I suppose might be at odds with a lot of what I've said so far xD yet it also remains true to a lot of what I've said here :'D

When I first started to ponder this story, the first plot point was obvious and instinctive: Sokka's capture. When Chaosconetic (the one who first gave me the idea for this story) suggested it, he didn't quite put forward the idea of having Azula being the one who captured Sokka personally. I thought of making Azula and Sokka first come face to face in this way because... honestly? Because I just wanted them to interact as soon as possible x'DDDD it complicated matters, of course, but that was absolutely something I could work with.

Yet... where was I going with this story? It was a rewrite of ATLA as a whole, so what exactly was the direction for the story? Clearly, Azula and Sokka would wind up falling in love, and how exactly would that come about? And beyond that, wouldn't it be a seeerious mess for this to happen in a setting where Ozai is STILL in power? Why, of course it would be! :'D It added a new layer of complications to the generally already complicated Sokkla relationship, and instead of it being kept secret or being a forbidden romance for the reasons canon-based stories typically make it so, it's BEYOND forbidden here because Ozai is still a very much active factor in this story, and he makes everything worse :D soooooo...

With these particular factors in mind, I had several things to think about. With Sokka fighting as a gladiator being the core of the story, I had to figure out who would be his rivals, and in doing so, figure out what his power curve as a warrior would look like :'D in doing so, I settled very quickly on Toph for his main serious rival, but Sokka wasn't the only one whose story I'd be telling: obviously, Azula's arc would be important too, as I'd have to work with developing her FAR MORE than I ever had before, and while Sokka's personal opponents would be important, Azula is the one who chooses Sokka as her personal warrior, therefore, she had to have a purpose in doing so. Said purpose then materialized when I decided to make use of Zhao's character for Azula's main goal and foil, and so, I needed Zhao to have THE best gladiator of all... and I didn't need to think about it too much before I settled on Combustion Man for the role :'D

Thus, those were small, isolated yet pivotal elements that I had to articulate into a structure that made sense :D they were small things I settled on pretty quickly, from the very first few days of plotting. I can say for certain that, by the third day, I already had settled on the climax (... can't decide whether that's a fortunate or unfortunate wording choice, tbh xD) scene of Part 1, when Azula and Sokka have their fateful fight in chapter 96, then finally succumb to their attraction and act on their feelings without holding back, in chapter 97 :'D I knew I wanted this to happen after Sokka hit a low point upon failing to defeat Toph, either for the second time or after losing against her far too many times that he just was too discouraged to keep going, hence, I knew what the lead-up to this would be from literally day THREE.

But beyond this? At like... day one or two of plotting, once I settled on Combustion Man as the ultimate man to defeat? I also settled on how Part 2 would end :> back then, I honestly had no idea how much time there would be between the events from chapter 97 and the upcoming culmination of Part 2, I wasn't anywhere near advanced enough with plotting to even KNOW I'd split the story into parts because it would get too big to handle xD But what I did know was that I needed these two situations to happen, situations deeply entwined with Sokka's role as a gladiator. Everything in between was variable, and it was stuff I could figure out slowly, along the way.

The ultimate direction of the story, though? That did take me a long time to settle on xD In fact, I think it took me well over a year after I got started to really figure out where I was going with all of this. A close friend helped me figure out things by offering many ideas for Zuko and Suki's storyline, basically tossing them at me in hopes that I'd make sense out of some of them... and I don't really know if she even knows how much that helped me xD I really spent a long time unsure of what I wanted to do, what I COULD do... until at long last, I settled on one slightly ambitious direction that eventually turned into what you'll all know as Part 3 :'DDDDD

So... yeah, that's why I say I'm being contradictory as heck xD Yes, I worked out some core details of the story since the very beginning, but it wasn't ALL the core details, let alone the ultimate direction of the story, BUT... in building up Azula's character arc, that direction slowly became clearer to the point where, when this particular possibility stared me in the face, I knew it was where we had to go, I realized that what I'd written over that year was leading up perfectly to that outcome.

Ergo, Gladiator is 100% a work of gardening and architecture, woven together to a point where I have a hard time remembering what, exactly, was the result of each thing. There's some things that I settled on early on, like I said, structure things... and then there are some parts where the characters just went wild and did things I did NOT expect them to do xD There's one scene coming up, right before the climax of Part 2, where Azula actually does something that I honestly WASN'T sure of doing... and yet I couldn't resist the urge to go forward with it, once the idea came to mind, and so I did it. And now I regret nothing xD was it necessary? Possibly not. Will some people find it weird and out of place? Maybe. But was it CATHARTIC AS HECK!? Aaaabsolutely friggin' yes XD pardon me for being so self-indulgent, but that's part of what being a gardener is about (?)

So, I really think the best stories benefit from a careful approach to mixing the principles of both ideas. I know that some gardeners think that a structure can stifle creativity (not necessarily true, if you sense a lack of creativity in anything you're doing, it IS up to you to turn it around, switch it up and make it interesting, right...?), I also suspect architects might think gardeners would be utterly unable to tell a good story altogether in virtue of letting the story run away with them (also not necessarily true, as the quality of a story isn't quantifiable as easily as that, gardeners might just make masterpieces without as much need of direction as I personally require: Philip Pullman apparently had no set direction in the His Dark Materials trilogy and I could swear that's some of the best storytelling I have EVER seen).

Ultimately, each person gets to choose their ideal approach and what exactly they're trying to do with their work, as well as how they want to do it... but if you ask me, if your characters never seem to pull you in unexpected directions, you might just need to rework them or approach them differently to give them more life. If they DO pull you in those unexpected directions, but you're not sure if you can follow them just because you need to follow structure, it's really up to you as the author to choose whether to sacrifice the life/creativity within your own work and stick to structure, or sacrifice structure and potentially cause your story's course to crumble :'D

It may sound like I'm advocating for gardening so much more, despite I've labeled myself an architect, buuuuut... ironically, a very complicated but VERY rewarding scene in Gladiator Part 3 damn near WRECKED my structure when I was writing it a few weeks ago :'D I literally had to take a day off from actually writing so I could make a list of ALL the elements that would be impacted by this change if I went forward with it. If I chose against it, I would have to rewrite the complicated scene in a different way, and it might have been waaay too weird to make it work. If I chose to keep it, I had to tread VERY carefully or end up potentially making a mess of the ultimate direction of Gladiator's story, even threatening the themes and nuance that I have been counting on since I settled on this direction. Thus, sometimes gardening can be dangerous. Very, very dangerous.

I THINK I found a fair enough compromise that allows me to keep the best of both worlds... but I hope I've made it clear that both ways of working have their pros and cons, and why even mixing both things can have pros and cons xD but this is also why I, personally, think that a writer benefits the most from figuring out at least a loose outline, the broad strokes of what they want to achieve in a story, and then figuring out the many ways in which they could fill in those foundations, in whatever way they're most comfortable.

And so, I have rambled plenty xD I hope that was thorough enough, my position in this particular subject is honestly to oscillate in the middle of both things, where part of your job as the writer is to determine which situation benefits more from either approach :D Like I said before, I've found structure isn't something I can sacrifice easily, but more often than not, letting the story flow, letting the characters make their own choices, can enrich your story rather than hinder it. So... I lay the foundations, the structure, so that seeds can grow inside it, if that makes sense xD

#anon #woops #why do I talk so much #I just always do #minor tidbit spoilers here you could say though I don't THINK I gave away anything too important...#:'DDDD #but yep I am a gardenchitect #architardener (?)#whatever you wanna call it xD

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