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praphit · 3 years ago

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Shang-Chi! and the Rings of Daddy Murder Death!

When the trailer for this movie first came out, I was hyped! From the cast, to the bad ass bus scene, to Wong vs The Abomination,

I was sold!

Of course you had the people who came out saying "This is Marvel trying to be woke again. Hate crimes against Asian people on the rise, and here comes Marvel with Shang-Chi" We know this to be crazy, because Marvel already had this in the works, but certain people still reacted that way. But, even if that notion were true, would that be so bad?

It wouldn't absolve the ignorance, hatred, violence, and toxicity. But, if someone in Hollywood said "We've screwed over Asian people in films for like... ever. What if this time we choose a popular Asian character to base a movie on, and we DON'T do that?"

Now, (being that this movie supposedly leans on Chinese culture, with Shang-Chi being Chinese) China might argue that they still did them wrong (valid racist historical ptsd, cultural splicing, the whole martial arts thing, plus the main character is actually Canadian). It's not my place to weigh-in. But, I will say that making Shang-Chi Canadian, NOT a martial artist, but instead a hockey player, who loves Drake, and co-starring another Canadian, like Micheal Cera or someone

probably wouldn't have worked as well for the MCU. Then, maybe Canada would have a problem with Marvel. I don’t envy movie-makers in this context.

When I was a kid I was big into Black Belt Theater, Bruce Lee movies,

Bruce Leroy,

and within my love for martial arts and fighting entertainment was

Shang-Frickin-Chi.

I liked it, though I remember it being a lil racist. It's weird going back in time to see your fav childhood shows and books that wouldn't fly today:

I mean we've certainly been a lot more sensitive these days:

Regardless, Shang-Chi is here! (played by Canada's main man Simu Liu) He goes by the name of Shaun!

Don't let that name fool you. Shaun will whup that ass! He says "Bleep all those super powers, and serums, a suits, and magic, and the rubber bones of Widow! That's some ol bullshit! All I need is my Wu-Tang style!" A style fueled by his daddy issues. And he's got some serious daddy issues. To be fair, his dad is the villain of the story. If your father was the active villain of your story, you'd also have issues.

Awkwafina is his sidekick

(much better than Michael Cera would be), she plays as Katy. That's fun. Every Katy I've ever known has been fun... and a heavy drinker:) This Katy is here to drive fast and crack jokes.

Ladies and Gentlemen, your new Marvel duo!

It's not just daddy issues for Shang-Chi, but mommy issues (she dead), avoidance issues, his sister kicks him in the balls. He didn't even seem shocked. I mean, his balls were shocked, for sure, but it seemed like she just did that all of the time. I'm imagining Christmas when they were kids. "Here's your gift, bro. KNEE TO THE NUTS Merry Christmas" What kind of relationship is that? And why?! - well, he did abandon her for like 10 years, but... you know, that's plenty of time for her to get over it, right?? So, we'll say sister issues, his daddy training him to be an assassin issues, and his friends have issues with him! - AND KATY! They don't respect Marvel's new duo. They think Shaun and Katy should be doing more with their lives.

They are both valets during the day, and at night they rock drunken karaoke. That seems like the perfect life to me.

But, Daddy and his power rings couldn't allow them to keep living the dream. I haven't mentioned the ten rings yet.

They give him super-duper-magical martial arts powers, and make him eternal. AND made him an asshole.

To be fair, he was probably already an asshole before the powers. He's been killing a lot of people. You figure he's been around for 1000+ years. His wife is dead, and he has no hobbies. It's not like he kills a few people and then goes home to read a book, or play video games, or make TikTok videos. It's sunrise to sunset killing all day, every day for generations. Then, he forms an evil terrorist group called "Ten Rings" to amplify his killing.

"Murder Death Rings" are what they should be called.

"Daddy Death Punchy Time"

""Dead Doomy Rangs of Killer Dad"

"The Legendary Killer Rings of Deadly Death Death Murder Pops"

"The... " sorry, I've been drankin a lil bit while I write... I lost my place.

I like "Daddy Death" Where was I?

Right! He can't have Shaun being happy! We've gotta get this plot going, so he sends the only white dude he can find in this movie to start some trouble for them. I guess, there might have been a couple of more white people in the film, but they all got the snot beat out of them in that bus scene. This white dude's name is "Razor Fist", yep... "Razor Fist!".

At least they didn't stick to the original design.

Ridiculous. How does he use the bathroom?

He's played by Florian Munteanu, who is a former heavy weight boxer. Yeah! Was also in "Creed" his nickname is "The Big Nasty". Isn't that a drink? A bartender once offered me to sample a drink called "The Big Nasty". I chose to go with a drink that doesn't have "nasty" in its title. ... I think he was offering me a drink.

???

"Daddy Murder Death" and "Sharp Fisty Man" spark this thang. And Shaun becomes Shang-Chi, beater of ass!

The visuals in this movie are the best Marvel has done to date. The action is so good. I just got finished raving about the action in "Black Widow"; this surpasses that. I dug the cast. I know some people don't like Awkwafina, but... get over it. She was great in this; everybody was!

I loved the soundtrack! I'm not normally the "I loved the soundtrack guy" , but it was perfect. It begs to be mentioned.

No issues with the story. And the emotions that they're stirring in you. Whew!

One moment I'm enjoying the beater of ass, then Katy is making me laugh, then the slew of issues got me in my feelings, then the visuals wow me, then more swelling issues, back to ass beating - all the way through.

And the ending! True, Marvel has a formula (and this sticks to it), but if it ain't broken, why bleep with it?? The ending was Game of Thrones-ish, but with light so a brotha can see, and all the colors of the rainbow - like a Skittles commercial with martial arts. Fun! - so not like GOT at all, I guess. The only fun they had was when there was torture or prostitution going on.

I don't have anything bad to say about the movie. They could have shaved 5-10 mins off, but I won't take off for that; there's just too much to love about this!

Grade: A+

Fun for the whole family! I can see the fam working through some issues after the watch.

Daughter: "You know, Dad. That asshole dad of Shang-Chi kinda reminds me of you."

Mom: "Daughter! You do NOT talk to your father that way!"

Daughter: “Just sayin...”

Dad: "That's interesting, cuz his ungrateful, bitch of a daughter reminds me of YOU!"

Mother and Daughter: *gasp

Son: *laughs

Dad: "All I want you to do is take your school work seriously and maybe date a guy who doesn't smell like weed!"

Daughter: "I'll have you know that's his natural smell! And maybe I'd focus more on school, if I didn't have to focus on YOU being such a BLEEPING ASSHOLE, DAD!"

See, that's healthy dialogue, right there. Maybe the family that watches this movie buys mommy a bunch of guns for protection, so she doesn't end up dead like the mommy in this movie. Like a ridiculous amount of guns!

And I could see brother and sister kicking each other in the crotch to resolve their differences. BUT, if they're close-by, fighting each other, then there's no time to abandon one another.

Marvel does it again!

Whichever of the Marvel films is your favorite, this one will probably be up there as well.

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tomurasprincess · 4 years ago

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More Degrees of Lewdity!

Yes, yes he did. He broke into my room and did the same. AND YOU’RE RIGHT, PANTIES ARE IN SHORT SUPPLY. Mine are always getting ripped and taken. Although Whitney has instituted the rule of no panties during school, so I guess that’s probably best.

I kinda abandoned the cafe once I learned about the massage parlor, so I really need to go back and work a bit so I can experience this “special cream.” It sounds absolutely hilarious.

My suggestion is Whitney and Kylar because of the amazing Halloween event 👀

Ah ha, I guess I’ll need to go dancing some more. I kept pushing too far and getting into a gangbang, lmao.

You can find the pervert Leighton at the brothel at night. He comments on you being one of his students and you can have a sexual encounter with him. Apparently it CAN go as far as fucking him, so feel free to try that.

Alright, gonna make a new save and go become a cow girl. I have heard so much and haven’t experienced it myself yet.

I see you too selected “everything goes” as your kink level. Heavy risk, but the prizeeeee

If that’s deliberate, that is an amazing little feature. I think I’ve noticed him doing that in my game as well. He makes my breeding kink go brrrrrr. And holy shit, share your secrets. I was able to give him my vaginal virginity but nothing else. And that was when he had me kidnapped, lmao.

OMG that actually sounds sad if you choose to leave him for good. I dunno why since he kidnaps you, but IT IS STILL SAD. Clearly i have the Stockholm Syndrome for Eden trait, myself.

I do wish you luck! My best tip comes from another anon, actually. Raise your hand stat, do well in English, and work at the massage parlor. You will not have to worry about money at all and you can focus on getting fucked all around town being a good and normal student.

You absolutely do get to that point where you’re just like “ANOTHER NONCON ENCOUNTER? DAMNIT, I AM JUST WALKING HOME FROM SCHOOL, HORNY BITCHES.” Favorite character is Whitney who makes my masochism kink go brrrr, and Kylar who makes my yandere breeding kink go brrrrr.

God, I hate Bailey so much. I’ve gotten the van dialogue before but they always just give me money and leave, so I haven’t managed to get the “shoved into the van” thing. Just unlucky, I guess.

Oh good lord, that is an amazing chain of events to become a cow girl. Gonna save before I try anything so I can have a separate cow girl save in case I get stuck somewhere. AND A TATTOO? Damnit, I don’t want tattoos unless they say “Whitney’s Property.”

That sounds fascinating, I got to where the Stockholm Syndrome trait popped and then created another save just for Eden. Haven’t went back to it yet, so I haven’t tried to run away from him. This seems both sad and interesting, so I’ll have to try it for myself.

You are truly living the good life here.

The accuracy of this burns. As you can see, I am swimming in DoL asks 😂

Yesss, progress! I will await the happy wedding soon.

You can meet him on Saturdays, usually. If you’re walking the town, he finds you and asks you out on a date later that night. Just a warning though, don’t be late for the date! Once the date is over, he gives you money and you have to kiss him/fuck him/or do something else sexual and he gives you the money. ...it’s a lot of money usually, and worth it.

I have made him hysteric twice now. Once, I passed out in the street due to stress and he grabbed me from the street. The second time, he drugged my food at school and kidnapped me.

The true solution: leave the collar on. It’s a gift from Whitney, how dare you remove it? 😂

That event was by far one of my favorite parts of the game. I absolutely loved being fucked by Whitney in front of Kylar. I am not sure what that says about me as a person.

#video games #degrees of lewdity

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bangtanpromptsfics · 4 years ago

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acacia.

dialogue prompt #1: “Is this illegal?”

pairing: jungkook x reader

genre: f2l, fluff

word count: 1,590

warnings: alcohol consumption, swearing

summary: jungkook is in love with his best friend who would date anybody but him

a/n: these are meant to be for writing practice. feedback is greatly appreciated. it's really short but I hope you like this!! prompt is inspired from pinterest.

masterlist

“Is this illegal?”

Jungkook realises you are dumb, especially with all that alcohol from the party, or more so even without it.

He takes a sip of his beer and tries to construct a safe sentence which won't come out as rude.

“Bitch”. Well he tried. “You want to rob someone? That too his Balenciaga jacket? ”

You are referring to Namjoon who is busy chatting up girls with his dimples and loads of knowledge, for which he is mostly known. Redefining sexy or something on that line.

He was hosting this party for reasons you don't remember now anyways, it has something to do with his never ending list of achievements. And he basically invites most of the population of college. I mean free drinks so, whatever.

“I'm cold Kook, and his jacket looks so warm. He didn't give it when I asked him politely, so let's steal it”, you slur, shifting your body weight around enough to not have your face planted on the floor.

“You asked him? ”, he squeaks. “You can have mine”, he is removing his denim jacket in the next second, with a look of amuse of course and drapes it over your shoulder, “feeling better?”

“Yes!”, you begin to chime, “It smells like you too!”

Jungkook’s cheeks warm up instinctively. Though sometimes you are a pain in the ass, especially drunk, he had never complained about it. He shoots death glares and unpleasant nose scrunches of course, but nothing more. He'd been your friend for so long, so he should've been used to the random appreciation you give him. He should be immune to your flirty laughs, the way you look absolutely endearing with his hoodie on your small frame and definitely not clench his fist in jealousy when you go out for dates.

Probably a very cliche best friend in one-sided love story, but he feels so much more complications than that. He was going to confess ages ago, but since you are dumb as I said, would jump around random guys, scare them off with your mouth and wonder why you are single.

At times he wants to blow a punch to his face, like now, for being so crazy about his best friend, and being limited to only give you some sort of bro love until it's alas the final year of college and he completely misses the chance when you go to Paris for career.

“Talk something Kookie”, you bump shoulders together to catch the boy's attention who is in deep thought. He was indulgent in walking you to your dorm, and it reaches by ten minutes, and he really just want to fucking kiss you before you go, but he can't.

He faces you when you rest your face on his shoulder. “What are you thinking about hm?”, you ask.

“Nothing”. Liar.

“Well then I have something to say”, you remove your face and gaze on the ground, feeling a little sad already.

For a second he is hopeful and he doesn't know why. “What about?”

“Yesterday’s date”. Ouch. But as always he is trying his best, “Oh totally forgot about it. How did it go? Any luck? ”

“He stood me up. That asshole didn't even show up. I guess he just wanted sex”, you kick a pebble out of frustration while Jungkook wants to kick his face. It breaks him that he doesn't stand a chance to show you how much you can be loved. That you are more than the body all boys crave and go.

This time he kicks a pebble, and it jumps fairly up to land on some car’s window.

“Careful”, you chuckle, “I don't have money for concession”.

“Y/n, why don't you understand when I say someone is playing you? I always warn you, but you choose to do your bullshit anyway”. He is aggressive, but he's just sad; broken. And even though you get it, it sets you off.

“I am trying to find my soul mate”.

Jungkook couldn't help but laugh out loud, he thinks you are so innocent, so naive to let people run you over because of how soft your heart is. He even bends a little to catch his knees to support himself.

“What?”, you scoff, crossing your hands across the chest.

“You want to go on a date?”, he asks. And it takes him off guard too, more than you. But he seemed confident for the first time. Probably because the sober you doesn't remember the drunk you even in the slightest, or perhaps he thinks it'll go right.

“Date?”, you repeat, “With you?”

“Yeah”

“Like… right now?”

“Yes”, he puts out his hand, waiting for you to join hands.

What's the worst thing that's going to happen anyways? It's Jungkook, that one person who would give his life to protect you.

He doesn't say anything for the rest of the walk. It's a bit rushed because he can't simply wait. A whole thunderstorm is rushing inside his veins and he wants to make everything about this just perfect. So perfect that you forget about every date you have ever been too.

This is surely not the best date he had planned if he ever took you out, but it sounds alright on his mind and wishes it does the same on yours too.

After a stroll, you're waiting for Jungkook behind some rented building. He returns with a ladder; enough to make it to the first floor.

He makes sure to stand behind you and assure your safety. The rest of the way up was stairs, several tiring floors and heavy breath.

He observes your face forms an ‘O’ out of surprise.

At the rooftop of this building sits the most beautiful view of the city and thankfully starry sky to make things better.

It's Jungkook’s self-reflection space to be exact. There were things he shared with you of course, you were each other's shoulder to cry on, but ever since he caught feelings for you, he is just afraid he'll end up ranting into a sudden confession and ruin the friendship.

So he found other ways to cope. You however were convinced that it was some sort of “change” over time. Everyone changes and you believed it was just something of that sorts.

“It's so beautiful! ”, you grin, “How come you never bring me here you meanie! ”, you smack his arm as you sit down on the ground beside him.

“I was going too! ”, he fights back, rubbing his arm.

“This is a perfect date”, you begin after some moment of silence, “how come you don't go for relationships!? Girls will be so happy to be treated this way! ”

The first part of the sentence makes his chest warm out of pride, but it collapses to where it was before as you end.

He just knows you'll never know how he feels unless he just says it, without beating around the bush.

He doesn't say anything and instead gets up to take two cans of beer he had hid somewhere. You are way past your alcohol limit and acting knowingly for once, you reject.

He opens his and chugs down half of it in one go.

“Woah… hey Kookie you alright? ”, he flinches when your palm presses against his shoulder.

“I want to kiss you really bad”.

Bad line of start.

Your cheeks burn and turn vibrant shades of scarlet, expecting anything but that. But the more you continue to look at him, the more ethereal he looks; attractive, and someone definitely not deserving of petty friend zoning.

He feels a pair of lips on his cheeks, startling him. He turns around to see your face breathtakingly close.

He is really slow, studying every clue you give, once he is certain he is doing this with consent, he places both of his palms on your cheek and leans in.

Jungkook wants to pinch himself because he thinks he is sleeping and it's just another one of his blissful day dreams. But when you nibble on his bottom lip, he thinks maybe not. You are really here, hands on his hair and kissing him. He holds your head more firmly as he begins to dominate the kiss, ambitious to let you know what he had been thinking about you for the past several years.

His lips are flushed and glossy when you break off of him, but hands still on his body, on his shoulder, taking your time to catch your breath.

“Y/n...I hope it's clear now. I like you. Like… . I really like you. And it had been killing me for years whenever I see you going behind other guys, sleeping with them just because they agree to take you on a date. Please Y/n, will you give me a…chance”.

Since the author had enough of Y/n’s dumbness as well, the story continues with Y/n accepting him, realising how blind she was.

You feel already intoxicated by his lips so you give it a peck and hug him, “Yes Koo. And I'm sorry, for all this, and thank you so much for this date, I am looking forward to our second one”, you beam.

He finds it cute how you think soulmates exist. He doesn't know about all that. He just knows you can make him happy and every heartbreak for you was worth it. So he smiles and nods, nothing conveyed after, until he takes you back to your dorm and kisses you one last time for the day.

Thank you so much for reading!!

Original Content of ©bangtanpromptsfics

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antimony-medusa · 3 years ago

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3, 6, 20, 26! For the writer thing! /nf

3. What is your writing ritual and why is it cursed?

I actually am not sure that my writing rituals are very cursed? I mostly just make tea, cue up the playlist, and go for it. If I am really scraping the bottom of the bottle for words I do tend to get to some more desperate word-spells, such as looping a single pop song for hours, brushing my teeth on the hour, putting on lipstick, cleaning the kitchen. Just normal stuff.

6. What is your darkest fear about writing?

That I am irreparably broken as a human being and my writing will reflect that in a way that is both repellent and uninteresting.

(Look. You asked. :D)

Aside from the existential stuff, the fear that I'm gonna lose the ability to write again. Had that happen for a couple years, did not like that. I like being able to write. It's fun.

20. If a witch offered you the choice between eternal happiness with your one true love and the ability to finally finish, perfect, and publish your dearest, darlingest, most precious WIP in exactly the way you've always imagined it — which would you choose? You can’t have both sorry, life’s a bitch

Look. I'm aromantic. I don't— I don't just get one true love, I have like 18, because they're my friends. Question flawed, won't answer. :D

26. How do you get into your character’s head? How do you get out? Do you ever regret going in there in the first place?

Oh boy. Hmmm. So, I kinda build characters in my head out of a synesthesetic type collection of like, vibes and sounds and colours and emotions. I can't really write until I know what they feel like. And then I just shut out the world and start bouncing between heads. (My stuff tends to be pretty dialogue-heavy, so it's mostly just about getting the voice in my head, which is just like, being able to have that level of concentration today, focusing, and going. I usually can't do it on days I have any other work, so, that's really beneficial for my word count.

The only headspace I regret going into is the real uh, pogtopia wilbur type headspace? The self-loathing self-destruction spiral. It is fairly easy to get there, cause I've been there myself (with less TNT), but getting out sometimes takes a walk and some tea or something.

[Weird Writer Ask Game!]

#ask game #itsa-jaybird

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armageddon-generation · 4 years ago

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Articulating Why His Dark Materials is Badly Written

A long essay-thing with lots of specific examples and explanations of why I feel this way. Hopefully I’ve kept fanboy bitching to a minimum.

This isn’t an attack on fans of the show, nor a personal attack on Jack Thorne. I’m not looking to ruin anyone’s enjoyment of the show, I just needed to properly articulate, with examples, why I struggle with it. I read and love the books and that colours my view, but I believe that HDM isn’t just a clumsy, at-best-functional, sometimes incompetent adaptation, it’s a bad TV show separate from its source material. The show is the blandest, least interesting and least engaging version of itself it could be.

His Dark Materials has gorgeous production design and phenomenal visual effects. It's well-acted. The score is great. But my god is it badly written. Jack Thorne writing the entire first season damned the show. There was no-one to balance out his flaws and biases. Thorne is checking off a list of plot-points, so concerned with manoeuvring the audience through the story he forgets to invest us in it. The scripts are mechanical, empty, flat.

Watching HDM feels like an impassioned fan earnestly lecturing you on why the books are so good- (Look! It's got other worlds and religious allegory and this character Lyra is really, really important I swear. Isn't Mrs Coulter crazy? The Gyptians are my favourites.) rather than someone telling the story naturally.

My problems fall into 5 main categories:

Exposition- An unwillingness to meaningfully expand the source material for a visual medium means Thorne tells and doesn't show crucial plot-points. He then repeats the same thing multiple times because he doesn't trust his audience

Pacing- By stretching out the books and not trusting his audience Thorne dedicates entire scenes to one piece of information and repeats himself constantly (see: the Witches' repetition of the prophecy in S2).

Narrative priorities- Thorne prioritises human drama over fantasy. This makes sense budgetarily, but leads to barely-present Daemons, the Gyptians taking up too much screentime, rushed/badly written Witches (superpowers, exposition) and Bears (armourless bear fight), and a Lyra more focused on familial angst than the joy of discovery

Tension and Mystery- because HDM is in such a hurry to set up its endgame it gives you the answers to S1's biggest mysteries immediately- other worlds, Lyra's parents, what happens to the kids etc. This makes the show less engaging and feel like it's playing catch-up to the audience, not the other way around.

Tonal Inconsistency- HDM tries to be a slow-paced, grounded, adult drama, but its blunt, simplistic dialogue and storytelling methods treat the audience like children that need to be lectured.

MYSTERY, SUSPENSE AND INTRIGUE

The show undercuts all the books’ biggest mysteries. Mrs Coulter is set up as a villain before we meet her, other worlds are revealed in 1x2, Lyra's parents by 1x3, what the Magesterium do to kids is spelled out long before Lyra finds Billy (1x2). I understand not wanting to lose new viewers, but neutering every mystery kills momentum and makes the show much less engaging.

This extends to worldbuilding. The text before 1x1 explains both Daemons and Lyra's destiny before we meet her. Instead of encouraging us to engage with the world and ask questions, we're given all the answers up front and told to sit back and let ourselves be spoon-fed. The viewer is never an active participant, never encouraged to theorise or wonder

Intrigue motivated you to engage with Pullman's philosophical themes and concepts. Without it, HDM feels like a lecture, a theme park ride and not a journey.

The only one of S1's mysteries left undiminished is 'what is Dust?', which won't be properly answered until S3, and that answer is super conceptual and therefore hard to make dramatically satisfying

TONAL INCONSISTENCY

HDM billed itself as a HBO-level drama, and was advertised as a GoT inheritor. It takes itself very seriously- the few attempts at humour are stilted and out of place

The production design is deliberately subdued, most notably choosing a mid-twentieth century aesthetic for Lyra’s world over the late-Victorian of the books or steampunk of the movie. The colour grading would be appropriate for a serious adult drama.

Reviewers have said this stops the show feeling as fantastical as it should. It also makes Lyra’s world less distinct from our own.

Most importantly, minimising the wondrous fantasy of S1 neuters its contrast with the escalating thematic darkness of the finale (from 1x5 onwards), and the impact of Roger’s death. Pullman's books are an adult story told through the eyes of a child. Lyra’s innocence and naivety in the first book is the most important journey of the trilogy. Instead, the show starts serious and thematically heavy (we’re told Lyra has world-saving importance before we even meet her) and stays that way.

Contrasting the serious tone, grounded design and poe-faced characters, the dialogue is written to cater to children. It’s horrendously blunt and pulls you out of scenes. Subtext is obliterated at every opportunity. Even in the most recent episode, 2x7, Pan asks Lyra ‘do you think you’re changing because of Will?’

I cannot understate how on the nose this line is, and how much it undercuts the themes of the final book. Instead of even a meaningful shot of Lyra looking at Will, the show treats the audience like complete idiots.

So, HDM looks and advertises itself like an adult drama and is desperate to be taken seriously by wearing its big themes on its sleeve from the start instead of letting them evolve naturally out of subtext like the books, and dedicating lots of scenes to Mrs Coulter's self-abuse

At the same time its dialogue and character writing is comparable to the Star Wars prequels, more childish than media aimed at a similar audience - Harry Potter, Doctor Who, Avatar the Last Airbender etc

DAEMONS

The show gives itself a safety net by explaining Daemons in an opening text-crawl, and so spends less time showing the mechanics of the Daemon-human bond. On the HDM subreddit, I’ve seen multiple people get to 1x5 or 6, and then come to reddit asking basic questions like ‘why do only some people have Daemons?’ or ‘Why are Daemons so important?’.

It’s not that the show didn’t answer these questions; it was in the opening text-crawl. It’s just the show thinks telling you is enough and never shows evidence to back that up. Watching a TV show you remember what you’re shown much easier than what you’re told

The emotional core of Northern Lights is the relationship between Lyra and Pan. The emotional core of HDM S1 is the relationship between Lyra and Mrs Coulter. This wouldn't be bad- it's a fascinating dynamic Ruth plays wonderfully- if it didn't override the Daemons

Daemons are only onscreen when they serve a narrative purpose. Thorne justifies this because the books only describe Daemons when they tell us about their human. On the page your brain fills the Daemons in. This doesn't work on-screen; you cannot suspend your disbelief when their absence is staring you in the face

Thorne clarified the number of Daemons as not just budgetary, but a conscious creative choice to avoid onscreen clutter. This improved in S2 after vocal criticism.

Mrs Coulter/the Golden Monkey and Lee/Hester have well-drawn relationships in S1, but Pan and Lyra hug more in the 2-hour Golden Compass movie than they do in the 8-hour S1 of HDM. There's barely any physical contact with Daemons at all.

They even cut Pan and Lyra's hug after escaping the Cut in Bolvangar. In the book they can't let go of each other. The show skips it completely because Thorne wants to focus on Mrs Coulter and Lyra.

They cut Pan and Lyra testing how far apart they can be. They cut Lyra freeing the Cut Daemons in Bolvangar with the help of Kaisa. We spent extra time with both Roger and Billy Costa, but didn't develop their bonds with their Daemons- the perfect way to make the Cut more impactful

I don't need every single book scene in the show, but notice that all these cut scenes reinforced how important Daemons are. For how plodding the show is. you'd think they could spare time for these moments instead of inventing new conversations that tell us the information they show

Daemons are treated as separate beings and thus come across more like talking pets than part of a character

The show sets the rules of Daemons up poorly. In 1x2, Lyra is terrified by the Monkey being so far from Coulter, but the viewer has nothing to compare it to. We’re retroactively told in that this is unnatural when the show has yet to establish what ‘natural’ is.

The guillotine blueprint in 1x2 (‘Is that a human and his Daemon, Pan? It looks like it.’ / ‘A blade. To cut what?’) is idiotic. It deflates S1’s main mystery and makes the characters look stupid for not figuring out what they aren’t allowed to until they did in the source material, it also interferes with how the audience sees Daemons. In the book, Cutting isn’t revealed until two-thirds of the way in (1x5). By then we’ve spent a lot of time with Daemons, they’ve become a background part of the world, their ‘rules’ have been established, and we’re endeared to them.

By showing the Guillotine and putting Daemons under threat in the second episode, the show never lets us grow attached. This, combined with their selective presence in scenes, draws attention to Daemons as a plot gimmick and not a natural extension of characters. Like Lyra, the show tells us why Daemons are important before we understand them.

Billy Costa's fate falls flat. It's missing the dried fish/ fake Daemon Tony Markos clings to in the book. Thorne said this 'didn't work' on the day, but it worked in the film. Everyone yelling about Billy not having a Daemon is laughable when most of the background extras in the same scene don't have Daemons themselves

WITCHES

The Witches are the most common complaint about the show. Thorne changed Serafina Pekkala in clever, logical ways (her short hair, wrist-knives and cloud pine in the skin)

The problem is how Serafina is written. The Witches are purely exposition machines. We get no impression of their culture, their deep connection to nature, their understanding of the world. We are told it. It is never shown, never incorporated into the dramatic action of the show.

Thorne emphasises Serafina's warrior side, most obviously changing Kaisa from a goose into a gyrfalcon (apparently a goose didn't work on-screen)

Serafina single-handedly slaughtering the Tartars is bad in a few ways. It paints her as bloodthirsty and ruthless. Overpowering the Witches weakens the logic of the world (If they can do that, why do they let the Magesterium bomb them unchallenged in 2x2?). It strips the Witches of their subtlety and ambiguity for the sake of cinematic action.

A side-effect of Serafina not being with her clan at Bolvangar is limiting our exposure to the Witches. Serafina is the only one invested in the main plot, we only hear about them from what she tells us. This poor set-up weakens the Witch subplot in S2

Lyra doesn’t speak to Serafina until 2x6. She laid eyes on her once in S1.

The dialogue in the S2’s Witch subplot is comparable to the Courasant section of The Phantom Menace.

Two named characters, neither with any depth (Serafina and Coram's dead son developed him far more than her). The costumes look ostentatious and hokey- the opposite of what the Witches should be. They do nothing but repeat the same exposition at each other, even in 2x7.

We feel nothing when the Witches are bombed because the show never invests us in what is being destroyed- with the amount of time wasted on long establishing shots, there’s not one when Lee Scoresby is talking to the Council.

BEARS

Like the Witches; Thorne misunderstands and rushes the fantasy elements of the story. The 2007 movie executed both Iofur's character and the Bear Fight much better than the show- bloodless jaw-swipe and all

Iofur's court was not the parody of human court in the books. He didn't have his fake-Daemon (hi, Billy)

An armourless bear fight is like not including Pan in the cutting scene. After equating Iorek's armour to a Daemon (Lee does this- we don’t even learn how important it is from Iorek himself, and the comparison meant less because of how badly the show set up Daemons) the show then cuts the plotpoint that makes the armour plot-relevant. This diminishes all of Bear society. Like Daemons, we're told Iorek's armour is important but it's never shown to be more than a cool accessory

GYPTIANS

Gyptians suffer from Hermoine syndrome. Harry Potter screenwriter Steve Kloves' favourite character was Hermione, and so Film!Hermoine lost most of Book!Hermoine's flaws and gained several of Book!Ron's best moments. The Gyptians are Jack Thorne's favourite group in HDM and so they got the extra screentime and development that the more complicated groups/concepts like Witches, Bears, and Daemons (which, unlike the Gyptians, carry over to other seasons amd are more important to the overall story) needed

At the same time, he changes them from a private people into an Isle of Misfit Toys. TV!Ma Costa promises they'll ‘make a Gyptian woman out of Lyra yet’, but in the book Ma specifically calls Lyra out for pretending to be Gyptian, and reminds her she never can be.

This small moment indicates how, while trying to make the show more grounded and 'adult', Thorne simultaneously made it more saccharine and sentimental. He neuters the tragedy of the Cut kids when Ma Costa says they’ll become Gyptians. Pullman's books feel like an adult story told through the eyes of a child. The TV show feels like a child's story masquerading as a serious drama.

LIN-MANUEL MIRANDA

Let me preface this by saying I genuinely really enjoy the performances in the show. It was shot in the foot by The Golden Compass' perfect casting.

The most contentious/'miscast' actor among readers is LMM. Thorne ditched the books' wise Texan for a budget Han Solo. LMM isn't a great dramatic actor (even in Hamilton he was the weak link performance-wise) but he makes up for it in marketability- lots of people tried the show because of him

Readers dislike that LMM's Lee is a thief and a scoundrel, when book-Lee is so moral he and Hester argue about stealing. Personally, I like the change in concept. Book!Lee's parental love for Lyra just appears. It's sweet, but not tied to a character arc. Done right, Lyra out-hustling Lee at his own game and giving him a noble cause to fight for (thus inspiring the moral compass of the books) is a more compelling arc.

DAFNE KEENE AND LYRA

I thought Dafne would be perfect casting. Her feral energy in Logan seemed a match made in heaven. Then Jack Thorne gave her little to do with it.

Compare how The Golden Compass introduced Lyra, playing Kids and Gobblers with a group of Gyptian kids, including Billy Costa. Lyra and Roger are chased to Jordan by the Gyptians and she makes up a lie about a curse to scare the Gyptians away.

In one scene the movie set up: 1) the Gobblers (the first we hear of them in the show is in retrospect, Roger worrying AFTER Billy is taken) 2) Lyra’s pre-existing relationship with the Gyptians (not in the show), 3) Friendship with Billy Costa (not in the book or show) 4) Lyra’s ability to befriend and lead groups of people, especially kids, and 5) Lyra’s ability to lie impressively

By comparison, it takes until midway through 1x2 for TV!Lyra to tell her first lie, and even then it’s a paper-thin attempt.

The show made Roger Lyra’s only friend. This artificially heightens the impact of Roger's death, but strips Lyra of her leadership qualities and ability to befriend anyone.

Harry Potter fans talk about how Book!Harry is funnier and smarter than Film!Harry. They cut his best lines ('There's no need to call me sir, Professor') and made him blander and more passive. The same happened to Lyra.

Most importantly, Lyra is not allowed to lie for fun. She can't do anything 'naughty' without being scolded. This colours the few times Lyra does lie (e.g. to Mrs Coulter in 1x2) negatively and thus makes Lyra out to be more of a brat than a hero.

This is a problem with telling Northern Lights from an outside, 'adult' perspective- to most adults Lyra is a brat. Because we’re introduced to her from inside her head, we think she's great. It's only when we meet her through Will's eyes in The Subtle Knife and she's filthy, rude and half-starved that we realise Lyra bluffs her way through life and is actually pretty non-functional

Thorne prioritises grounded human drama over fantasy, and so his Lyra has her love of bears and witches swapped for familial angst. (and, in S2. angst over Roger). By exposing Mrs Coulter as her mother early, Thorne distracts TV!Lyra from Book!Lyra’s love of the North. The contrast between wonder and reality made NL's ending a definitive threshold between innocence and knowledge. Thorne showed his hand too early.

Similarly, TV!Lyra doesn’t have anywhere near as strong an admiration for Lord Asriel. She calls him out in 1x8 (‘call yourself a Father’), which Book!Lyra never would because she’s proud to be his child. From her perspective, at this point Asriel is the good parent.

TV!Lyra’s critique of Asriel feels like Thorne using her as a mouthpiece to voice his own, adult perspective on the situation. Because Lyra is already disappointed in Asriel, his betrayal in the finale isn’t as effective. Pullman saves the ‘you’re a terrible Father’ call-out for the 3rd book for a reason; Lyra’s naive hero-worship of Asriel in Northern Lights makes the fall from Innocence into Knowledge that Roger’s death represents more effective.

So, on TV Lyra is tamer, angstier, more introverted, less intelligent, less fun and more serious. We're just constantly told she's important, even before we meet her.

MRS COULTER (AND LORD ASRIEL)

Mrs Coulter is the main character of the show. Not Lyra. Mrs Coulter was cast first, and Lyra was cast based on a chemistry test with Ruth Wilson. Coulter’s character is given lots of extra development, where the show actively strips Lyra of her layers.

To be clear, I have no problem with developing Mrs Coulter. She is a great character Ruth Wilson plays phenomenally. I do have a problem with the show fixating on her at the expense of other characters.

Lyra's feral-ness is given to her parents. Wilson and McAvoy are more passionate than in the books. This is fun to watch, but strips them of subtlety- you never get Book!Coulter's hypnotic allure from Wilson, she's openly nasty, even to random strangers (in 2x3 her dismissal of the woman at the hotel desk felt like a Disney villain).

Compare how The Golden Compass (2007) introduced Mrs Coulter through Lyra’s eyes, with light, twinkling music and a sparkling dress. By contrast, before the show introduces Coulter it tells us she’s associated with the evil Magisterium plotting Asriel’s death- “Not a word to any of our mutual friends. Including her.” Then she’s introduced striding down a corridor to imposing ‘Bad Guy’ strings.

Making Mrs Coulter’s villainy so obvious so early makes Lyra look dumber for falling for it. It also wastes an interesting phase of her character arc. Coulter is rushed into being a ’conflicted evil mother’ in 2 episodes, and stays in that phase for the rest of the show so far. Character progression is minimised because she circles the same place.

It makes her one-note. It's a good note (so much of the positive online chatter is saphiccs worshiping Ruth Wilson) but the show also worships her to the point of hindrance- e.g. take a shot every time Coulter walks slow-motion down a corridor in 2x2

The problem isn’t the performances, but how prematurely they give the game away. Just like the mysteries around Bolvangar and Lyra’s parentage. Neither Coulter or Asriel have much chance to use their 'public' faces.

This is part of a bigger pacing problem- instead of rolling plot points out gradually, Thorne will stick the solution in front of you early and then stall for time until it becomes relevant. Instead of building tension this builds frustration and makes the show feel like it's catching up to the audience. This also makes the characters less engaging. You've already shown Mrs Coulter is evil/Boreal is in our world/Asriel wants Roger. Why are you taking so long getting to the point?

PACING AND EDITING

This show takes forever to make its point badly.

Scenes in HDM tend to operate on one level- either 'Character Building,' 'Exposition,' or 'Plot Progression'.

E.g. Mary's introduction in 2x2. Book!Mary only listens to Lyra because she’s sleep and caffeine-deprived and desperate because her funding is being cut. But the show stripped that subtext out and created an extra scene of a colleague talking to Mary about funding. They removed emotional subtext to focus on exposition, and so the scene felt empty and flat.

In later episodes characters Mary’s sister and colleagues do treat her like a sleep-deprived wreck. But, just like Lyra’s lying, the show doesn’t establish these characteristics in her debut episode. It waits until later to retroactively tell us they were there. Mary’s colleague saying ‘What we’re dealing with here is the fact that you haven’t slept in weeks’ is as flimsy as Pan joking not lying to Mary will be hard for Lyra.

Rarely does a scene work on multiple levels, and if it does it's clunky- see the exposition dump about Daemon Separation in the middle of 2x2's Witch Trial.

He also splits plot progression into tiny doses, which destroys pacing. It's more satisfying to focus on one subplot advancing multiple stages than all of them shuffling forward half a step each episode.

Subplots would be more effective if all the scenes played in sequence. As it is, plotlines can’t build momentum and literal minutes are wasted using the same establishing shots every time we switch location.

The best-structured episodes of S1 are 1x4, 1x6, and 1x8. This is because they have the fewest subplots (incidentally these episodes have least Boreal in them) and so the main plot isn’t diluted by constantly cutting away to Mrs Coulter sniffing Lyra’s coat or Will watching a man in a car through his window, before cutting back again.

The best-written episode so far is 2x5. The Scholar. Tellingly, it’s the only episode Thorne doesn’t have even a co-writing credit on. 2x5 is well-paced, its dialogue is more naturalistic, it’s more focused, it even has time for moments of whimsy (Monkey with a seatbelt, Mrs Coulter with jeans, Lyra and Will whispering) that don’t detract from the story.

Structurally, 2x5 works because A) it benches Lee’s plotline. B) The Witches and Magisterium are relegated to a scene each. And C) the Coulter/Boreal and Lyra/Will subplots move towards the same goal. Not only that, but when we check in on Mary’s subplot it’s through Mrs Coulter’s eyes and directly dovetails into the main action of the episode.

2x5 has a lovely sense of narrative cohesion because it has the confidence to sit with one set of characters for longer than two scenes at a time.

HDM also does this thing where it will have a scene with plot A where characters do or talk about something, cut away to plot B for a scene, then cut back to plot A where the characters talk about what happened in their last scene and painstakingly explain how they feel about it and why

Example: Pan talking to Will in 2x7 while Lyra pretends to be asleep. This scene is from the 3rd book, and is left to breathe for many chapters before Lyra brings it up. In the show after the Will/Pan scene they cut away to another scene, then cut back and Lyra instantly talks about it.

There’s the same problem in 2x5: After escaping Mrs Coulter, Lyra spells out how she feels about acting like her

The show never leaves room for implication, never lets us draw our own conclusions before explaining what it meant and how the characters feel about it immediately afterwards. The audience are made passive in their engagement with the characters as well as the world

LORD BOREAL, JOHN PARRY AND DIMINISHING RETURNS

At first, Boreal’s subplot in S1 felt bold and inspired. The twist of his identity in The Subtle Knife would've been hard to pull off onscreen anyway. As a kid I struggled to get past Will's opening chapter of TSK and I have friends who were the same. Introducing Will in S1 and developing him alongside Lyra was a great idea.

I loved developing Elaine Parry and Boreal into present, active characters. But the subplot was introduced too early and moved too slowly, bogging down the season.

In 1x2 Boreal crosses. In 1x3 we learn who he's looking for. In 1x5 we meet Will. In 1x7 the burglary. 1 episode worth of plot is chopped up and fed to us piecemeal across many. Boreal literally stalls for two episodes before the burglary- there are random 30 second shots of him sitting in a car watching John Parry on YouTube (videos we’d already seen) completely isolated from any other scenes in the episode

By the time we get to S2 we've had 2 seasons of extended material building up Boreal, so when he just dies like in the books it's anticlimactic. The show frontloads his subplot with meaning without expanding on its payoff, so the whole thing fizzles out.

Giving Boreal, the secondary villain in literally every episode, the same death as a background character in about 5 scenes in the novels feels cheap. It doesn’t help that, after 2x5 built the tension between Coulter and Boreal so well, as soon as Thorne is passed the baton in 2x6 he does little to maintain that momentum. Again, because the subplot is crosscut with everything else the characters hang in limbo until Coulter decides to kill him.

I’ve been watching non-book readers react to the show, and several were underwhelmed by Boreal’s quick, unceremonious end.

Similarly, the show builds up John Parry from 1x3 instead of just the second book. Book!John’s death is an anticlimax but feels narratively justified. In the show, we’ve spent so much extra time talking about him and then being with him (without developing his character beyond what’s in the novels- Pullman even outlined John’s backstory in The Subtle Knife’s appendix. How hard would it be to add a flashback or two?) that when John does nothing in the show and then dies (he doesn’t even heal Will’s fingers like in the book- only tell him to find Asriel, which the angels Baruch and Balthamos do anyway) it doesn’t feel like a clever, tragic subversion of our expectations, it feels like a waste that actively cheapens the audience’s investment.

TL;DR giving supporting characters way more screentime than they need only, to give their deaths the same weight the books did after far less build up makes huge chunks of the show feel less important than they were presented to be.

FRUSTRATINGLY LIMITED EXPANSION AND NOVELLISTIC STORYTELLING

Thorne is unwilling to meaningfully develop or expand characters and subplots to fit a visual medium. He introduces a plot-point, invents unnecessary padding around it, circles it for an hour, then moves on.

Pullman’s books are driven by internal monologue and big, complex theological concepts like Daemons and Dust. Instead of finding engaging, dynamic ways to dramatise these concepts through the actions of characters or additions to the plot, Thorne turns Pullman’s internal monologue into dialogue and has the characters explain them to the audience

The novels’ perspective on its characters is narrow, first because Northern Lights is told only from Lyra’s POV, and second because Pullman’s writing is plot-driven, not character-driven. Characters are vessels for the plot and themes he wants to explore.

This is a fine way of writing novels. When adapting the books into a longform drama, Thorne decentralised Lyra’s perspective from the start, and HDM S1 uses the same multi-perspective structure that The Subtle Knife and The Amber Spyglass do, following not only Lyra but the Gyptians, Mrs Coulter, Boreal, Will and Elaine etc

However, these other perspectives are limited. We never get any impression of backstory or motivation beyond the present moment. Many times I’ve seen non-book readers confused or frustrated by vague or non-existent character motivations.

For example, S1 spends a lot of time focused on Ma Costa’s grief over Billy’s disappearance, but we never see why she’s sad, because we never saw her interact with Billy.

Compare this to another show about a frantic mother and older brother looking for a missing boy. Stranger Things uses only two flashbacks to show us Will Byers’ relationships with his family: 1) When Joyce Byers looks in his Fort she remembers visiting Will there. 2) The Clash playing on the radio reminds Jonathan Byers of introducing Will to the song.

In His Dark Materials we never see the Costas as a happy family- 1x1’s Gyptian ceremony focuses on Tony and Daemon-exposition. Billy never speaks to his mum or brother in the show

Instead we have Ma Costa’s empty grief. The audience has to do the work (the bad kind) imagining what she’s lost. Instead of seeing Billy, it’s just repeated again and again that they will get the children back.

If we’re being derivative, HDM had the chance to segway into a Billy flashback when John Faa brings one of his belongings back from a Gobbler safehouse in 1x2. This is a perfect The Clash/Fort Byers-type trigger. It doesn’t have to be long- the Clash flashback lasted 1:27, the Fort Byers one 55 seconds. Just do something.

1x3 beats into us that Mrs Coulter is nuts without explaining why. Lots of build-up for a single plot-point. Then we're told Mrs Coulter's origin, not shown. This is a TV show. Swap Boreal's scenes for flashbacks of Coulter and Asriel's affair. Then, when Ma Costa tells Lyra the truth, show the fight between Edward Coulter and Asriel.

To be clear, Thorne's additions aren’t fundamentally bad. For example, Will boxing sets up his struggle with violence. But it's wasted. The burglary/murder in 1x7 fell flat because of bad editing, but the show never uses its visual medium to show Will's 'violent side'- no change in camera angle, focus, or sound design, nothing. It’s just a thing that’s there, unsupported by the visual language of the show

The Magisterium scenes in 2x2 were interesting. We just didn't need 5 of them; their point could be made far more succinctly.

In 2x6 there is a minute-long scene of Mary reading the I Ching. Later, there is another scene of Angelica watching Mary sitting somewhere different, doing the SAME THING, and she sees an Angel. Why split these up? It’s not like either the I Ching or the Angels are being introduced here. Give the scene multiple layers.

Thorne either takes good character moments from the books (Lyra/Will in 2x1) or uses heavy-handed exposition that reiterates the same point multiple times. This hobbles the Witches (their dialogue in 2x1, 2 and 3 literally rephrases the same sentiment about protecting Lyra without doing anything). Even character development- see Lee monologuing his and Mrs Coulter's childhood trauma in specific detail in 2x3

This is another example of Thorne adding something, but instead of integrating it into the dramatic action and showing us, it’s just talked about. What’s the point of adding big plot points if you don’t dramatise them in your dramatic, visual medium? In 2x8, Lee offhandedly mentions playing Alamo Gulch as a kid.

I’m literally screaming, Jack, why the flying fuck wasn’t there a flashback of young Lee and Hester playing Alamo Gulch and being stopped by his abusive dad? It’s not like you care about pacing with the amount of dead air in these episodes, even when S2’s run 10 minutes shorter than S1’s. Lee was even asleep at the beginning of 2x3, Jack! He could’ve woken from a nightmare about his childhood! It’s a little lazy, but better than nothing.

There’s a similar missed opportunity making Dr Lanselius a Witchling. If this idea had been introduced with the character in 1x4, it would’ve opened up so many storytelling possibilities. Linking to Fader Coram’s own dead witchling son. It could’ve given us that much-needed perspective on Witch culture. Imagine Lanselius’ bittersweet meeting with his ageless mother, who gave him up when he reached manhood. Then, when the Magisterium bombs the Witches in 2x2, Lanselius’ mother dies so it means something.

Instead it’s only used to facilitate an awkward exposition dump in the middle of a trial.

The point of this fanfic-y ramble is to illustrate my frustration with the additions; If Thorne had committed and meaningfully expanded and interwoven them with the source material, they could’ve strengthened its weakest aspect (the characters). But instead he stays committed to novelistic storytelling techniques of monologue and two people standing in a room talking at each other

(Seriously, count the number of scenes that are just two people standing in a room or corridor talking to each other. No interesting staging, the characters aren’t doing anything else while talking. They. Just. Stand.)

SEASON 2 IMPROVEMENTS

S2 improved some things- Lyra's characterisation was more book-accurate, her dynamic with Will was wonderful. Citigazze looked incredible. LMM won lots of book fans over as Lee. Mary was brilliantly cast. Now there are less Daemons, they're better characterised- Pan gets way more to do now and Hester had some lovely moments.

I genuinely believe 2x1, 2x3, 2x4 and 2x5 are the best HDM has been.

But new problems arose. The Subtle Knife lost the central, easy to understand drive of Northern Lights (finding the missing kids) for lots of smaller quests. As a result, everyone spends the first two episodes of S2 waiting for the plot to arrive. The big inciting incident of Lyra’s plotline is the theft of the alethiometer, which doesn’t happen until 2x3. Similarly, Lee doesn’t search for John until 2x3. Mrs Coulter doesn’t go looking for Lyra until 2x3.

On top of missing a unifying dramatic drive, the characters now being split across 3 worlds, instead of the 1+a bit of ours in S1, means the pacing/crosscutting problems (long establishing shots, repetition of information, undercutting momentum) are even worse. The narrative feels scattered and incohesive.

These flaws are inherent to the source material and are not the show’s fault, but neither does it do much to counterbalance or address them, and the flaws of the show combine with the difficulties of TSK as source material and make each other worse.

A lot of this has been entitled fanboy bitching, but you can't deny the show is in a bad place ratings-wise. It’s gone from the most watched new British show in 5 years to the S2 premiere having a smaller audience than the lowest-rated episode of Doctor Who Series 12. For comparison, DW's current cast and showrunner are the most unpopular since the 80s, some are actively boycotting it, it took a year-long break between series 11 and 12, had its second-worst average ratings since 2005, and costs a fifth of what HDM does to make. And it's still being watched by more people.

Critical consensus fluctuates wildly. Most laymen call the show slow and boring. The show is simultaneously too niche and self-absorbed to attract a wide audience and gets just enough wrong to aggravate lots of fans.

I’m honestly unsure if S3 will get the same budget. I want it to, if only because of my investment in the books. Considering S2 started filming immediately after S1 aired, I think they've had a lot more time to process and apply critique for S3. On the plus side, there's so much plot in The Amber Spyglass it would be hard to have the same pacing problems. But also so many new concepts that I dread the exposition dumps.

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butwhatifidothis · 3 years ago

Text

I did it! Finally fucking did it! I 100% the support log for 3H….Holy shit, that took longer than I was expecting, lol.

(Long rant, so heads up.)

I came in thinking “Oh they finally time-locked the supports, so I don’t have to have the damn cursor mocking me every time I open the menu like in Awakening and Fates, hurr hurr”. No no no no no. At least for Awakening and Fates, it was on my dumb ass for pressing the S-support and saving when I knew I shouldn’t. First off, if they wanted us to regain supports for Byleth in NG+, why the heck are supports for characters like Edelgard, Rhea, Dorothea and Lindhart locked? I don’t mean time-locked like the post-TS supports in a regular playthrough, I mean deadass “you can’t buy this, period” locked. “Oh it’s because you haven’t advanced that far in the story yet”. I can buy post-TS supports for the other characters, what makes El and Rhea exceptions?! The only thing that would be lost is that I don’t have to replay their entire route to get their S-support twice. It’s not like there’s enough differences between Bylad and Bylass to warrant the supports being locked, none of the characters specify a specific gender in their dialogue, and as far as different models go, changing models during a cutscene is coded into the game, so that should be no issue.

After going through the monastery option enough times, the hubworld is in this weird limbo state where it feels like it was made specifically for Byleth’s benefit (faculty training, recruiting party members, etc,) but the rest of the party seems to benefit from it instead (Instructions, Motivation points, etc). The Explore vs Battle options just don’t mix well, which feels like poor design choice. You can focus on auxiliary battles to raise your party’s level, but at the cost of potentially missing out on more party members. You can instead focus on the monastery to recruit party members, but at the cost of Byleth falling behind due to splitting activity points between recruiting and faculty training, and being in the monastery means less time grinding for levels. This isn’t as much of a problem in NG+, but if a game needs NG+ to lessen a design problem, then that’s more of a sign to me that the idea itself needed more ironing out.

As far as using the monastery to raise support points goes, the hubworld definitely needs a revamp. The only (good) options available are Meal Time and Choir Practice, with the latter being limited to once per week and the former making me think that the monastery must eat their own weapons to survive due to how fucking scarce food ingredients are. Getting meat and fish isn’t too big of an issue so long as you have enough money, but produce might as well be an urban legend. There were too many times where I had 60+ fish/meat, but produce was at fucking 1. I get that they wanted to be “realistic” in having seeds grow once per week, but if it’s at the cost of a gameplay element being nigh unplayable, then some more thought needs to be put into it. Sothis is a goddess of life and time, maybe her powers allow Byleth to make plants grow faster. Just something to make this section actually playable.

The final thing I wanted to talk about when it comes to the monastery is that, for some baffling reason, it is entirely possible to lock yourself out of key events like S-supports or being able to choose CF, simply by skipping to the end of the month. I’m not sure why this is a thing. It’s not like the game was designed with speedruns in mind (I mean, it is possible to beat a route in an hour, but fuck me if I ever succeeded in that), and nothing happens like a prompt popping up that you have to explore the monastery during that month or even limiting your options to just Explore (which the game has done before). This is especially weird for the quest in getting Jeralt’s ring (how to access S-supports), since Byleth is supposed to be sad in this month, so not being able to do seminars or Byleth being undeployable during auxiliary battles would make sense.

The option to choose CF is even worse though, because at least for Jeralt’s ring it’s a Red Quest that doesn’t allow you to finish exploring unless you complete it. For Edelgard, however? A dime-a-dozen quest prompt you can entirely look over and skip. No prompt by the game, no indication to talk to Edelgard, nothing. FFS, Rhea’s tea time quest was given more thought. At least her quest marker is a unique color.

(End of rant…sort of)

…So anyways, that was my experience with the game, lmao. Now you or someone else may be thinking, “nonnie, if you had this many problems completing the game, why did you bother?”, and the answer to that good question is…I’m not completely sure, lol. I know there’s more than one reason why, so bear with me here. I know part of it is due to sunk-cost fallacy (“I’m already this far into the game, I might as well fully complete it”), but I think a bigger reason is because I knew ahead of time that the routes were so similar to each other that there was little point in having a route split to begin with (except for CF, but who gives a fuck about that?). Despite all of my bitching, I do really like 3H even if I admit that it’s my least favorite FE game that I’ve played so far. I guess a part of me just wanted to like the game more despite my issues with it.

Now that I think about it, maybe the main reason was for fear of future mainline games. People are fear to like whatever part of a game that they wish, but I do think that 3H introduced some fundamental storytelling flaws that I’d rather not see repeated in the future, with me focusing on 3 in particular: 1) The Monastery, 2) Route Splits and 3) Byleth.

Aside from what I already talked about in regards to the monastery, if we are going to get another hubworld in the new FE title, have it to where it doesn’t conflict with how the rest of the story is presented. Is it better to simply tell us that the Western Church is xenophobic in an easily skippable side quest early on, or is it better to show us? Enemy Western Church NPCs going after foreign party members like Dedue or Petra more aggressively and calling them “animals” or the like, the map having Duscari NPCs locking themselves indoors for fear that the Western Church will persecute them, things of that nature. Is it better to tell us that there has been civil unrest in the Empire and the citizens revolting against Edelgard, or is it better to show us? Enemy Adrestian Civilian NPCs, assassins specifically going after Edelgard in a map, maybe one where a large farmland has been stripped bare. Things like that.

I’d rather do away with the Persona-calendar/Monastery hubworld, but if they are here to stay then they need enough content in it to keep the player engaged for 20-odd chapters, because there isn’t enough content in Garreg Mach to even hold up 12 chapters. Speaking of more content, if there’s going to be another route split in the next title, then there needs to be enough differences in the routes that actually warrants having a route split. Fates already did this well in having the route split be early in the game, along with the plot and story maps of each route being different, you could even skip to the route split moment on subsequent playthroughs, so 3H’s approach in having to play the same 12 chapters 3-4 times just felt like a massive downgrade. Playing multiple routes should feel rewarding rather than tedious, is what I’m trying to say.

Finally, and most importantly, I know that no one at IS is reading this but on the off chance that someone is - please, for the love of God, do not make another blank-slate/self insert main character like Byleth. Or at the very least, don’t have them be the focal point of the story, it’s a big reason why AM just works better than the other routes. For a game like FE, “self-insert” and “protagonist” goes as well as oil and water. Now, out of those three flaws listed, the Byleth one is what I’m hard set on. The monastery and route split flaws, my opinion might be flexible within reason, but the Byleth one…not so much, lol. If we really do get another self-insert doll for a main character, that alone is going to make the next game a hard sell for me, because seeing all the praise Byleth got (and has been getting) makes me fear that IS is going to take the wrong lesson from this and think they don’t have to put effort in making their protagonist anything resembling an actual person and their audience will still lap it up. It would be one thing if I just hated the character, but I don’t. I’m disappointed, which is even worse.

…With that said, it’s still better than whatever the heck Cap’n’Crunch is doing. Okay, rant over. For real this time.

—

I agree with a lot said here! But I do have a few disagreements, though they’re mostly my opinion than anything else lol

And this first one is probably like, extremely unpopular given how much shit I’ve seen flung at this aspect of 3H, but like… I actually really like the Monastery? Like yes, absolutely, it should have done more to not shelter the player from how bad the war is and it should change more with the world instead of being in this mostly limbo state where apparently seasons don’t real. I definitely also have those complaints, but to me, the Monastery was fine for the most part. A lot of the issues you brought up, like supports and Faculty Training and supplies for eating, weren’t a problem for me almost at all. My only real gripe is with how hard it is for Byleth to get training in Flying, Mounted and especially Heavy Armor without NG+ unlocking weapons ranks, since they don’t have access to Weekly Chores. I do believe I still managed to recruit everyone while only unlocking C in Faith on my Maddening playthrough of GD, but it certainly wasn’t easy. But I feel a lot of the problem people have with it are on subsequent playthroughs where they’re trying to do things like 100% any aspect of 3H, which yeah is gonna exacerbate the issues tenfold. Cuz like, while those three weapons ranks I mentioned are hard for Byleth to raise, on Normal mode you have unlimited auxiliary battles to help with all the other ones.

Like, I wanted to get Claude’s Dex to the max amount right? Just cuz I felt like it. And in doing that I found out just how tedious it is to get levels once a unit gets to a certain point, just cuz while Normal Mode gives you the Retreat option that lets you keep exp so you can drop a unit down on a yellow spot and get a decent boost in exp… you can do that like, twice or thrice on a story chapter. Once if it’s auxiliary (and not the freebie one). And that’s if you even have internet. And using the greenhouse to get Ailiell Pomegranates was a pain because they weren’t really guaranteed even if I used nothing but the right seed - doing that is more consistent, but not always, and I usually only got one anyway. It was annoying! But I was also doing a specific thing that’s gonna heighten the flaws in the system that I never would have noticed - didn’t even notice - unless I did that. The flaws are still there, don’t get me wrong! The Monastery definitely still needs improvement, battles still need to be a little more streamlined for future playthrough, but the flaws can seem a bit bigger than they are once you do certain things outside of a casual playthrough, know what I mean?

But, for example, when replaying 3H on hard mode and looking to recruit everyone after my no recruitment run, I didn’t come across any dilemma over “recruitment or Byleth being good, pick one.” That was the run my Byleth was usable, in fact - my first blind run that was no recruitment (save for Shamir) had my Byleth be pretty much completely useless while literally everyone else was fine. Also never came across problems with supplies for cooking (or at least not any big enough to comment on). So like, while these (and the above stuff) can certainly be problems for players trying to do everything everything in 3H, at least from my experience I just haven’t come across them. The monastery itself definitely needed a better story implementation, but yeah. I could’ve just been lucky tho lmao

I don’t mind how they implemented trying to get on CF at all tho lol. If you’ve been playing the game like it suggests you do - supporting characters and exploring the monastery there’s no reason for players to have missed getting on CF. If players wanted to ignore one of the biggest aspects of the game I don’t really feel that bad for them when they miss out on very achievable things. Plus, CF’s requirements are nothing in terms of FE’s madness when it comes to getting on a route. It may be more specific than any other route, but like I said, playing the game as the game tells you to would naturally land you in it (the only thing that might be a bit unfair is that I think if you talk with Edelgard at all that month you have to decide right then and there, and then the whole month is lost. Kinda ass).

Binding Blade, for example, requires you to do specific things that few first time players would think to do in multiple, random chapters in order for you to get the best ending. With absolutely no warning as to when these chapters happen and what to do in them. And some of these requirements are not fun lmao, I’d prefer how they did it with CF than with how they’ve handled ~secret~ stuff before personally

Pretty much agree with everything else though! While 3H is actually one of my more favored games in the series, I’ll be the first to admit that its storytelling is in dire need of improvement. Having the story and lore of the game just be spat out in lore dumps and this or that NPC just isn’t that good. Or if they are going to do that, at the very least give some visuals to go along with it! Imagine how much impactful Rhea’s story would have been if it was in a visual format, like CGs and/or a cutscene. It still would be an info dump, but at least we can see for ourselves how horrific the Red Canyon was for her! And I do not want another avatar in whatever next mainline game we get, personality or not. We’ve evolved past the need for self-inserts that all the characters Just Like lmao

But thanks for sharing your thoughts!! And sorry that it took so long for me to get to answering ;w;

#submission #anon #exqueuese me princess #but hey I found the og submission at least!! for some reason it got thrown in like the middle of my drafts?? weird lmao #but yeah overall I do think 3H could've done with some refinement for later more intensive playthroughs #and on the other hand I get why they didn't immediately think of them if that makes sense #also lol yeah the base game is infinitely more fun that whatever Cap'n'n doin' lmao

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sunnysaylorboy · 4 years ago

Text

my opinion on/a surprisingly passionate defense of Mulan (2020) (SPOILERS)

I’ve seen a lot of ppl ragging on the new Mulan for so many reasons, so I will go over why these (mostly) are stupid reasons and why I love the new movie.

1. Liu Yifei supporting the Hong Kong police. Now this is not a stupid reason, this is valid. I am an East Asian studies major, and as much as I love Disney, when I first heard the news I knew I could not watch Mulan (2020) in good conscience. It went against everything I have learned in my studies, and everything I believe. However, now I am almost positive Liu Yifei was forced to make those comments- I've seen several sources saying so recently. You can look for these sources on your own, because this isn’t the whole point of my post, but I think it's true. A movie about a woman defying her government and social expectations of the time? Hong Kong citizens could absolutely use her as a symbol for protesting against China. It makes sense that the government would take preventative measures before this could happen. But anyways, I was not planning on watching Mulan (2020) until I found out that what she said was most likely fake/forced.

2. The removal of Mushu. Yes, I too miss Mushu but I completely understand why they did that. A lot of ppl make these sort of complaints about the live action remakes not using humor in the same way as the original, but that’s bc it doesn’t translate well. Humor in animated movies is exaggerated or silly, and it works in that medium but if you do the exact same in a live action film, it will come off as too slapstick. Think Will Ferrell in Elf (still a good movie). Mushu’s whole character is based off of this humor that appeals more to kids, and it would have really made the dialogue with him super cringey. and I know if they made him a more serious supportive character people would've complained about that too, so I understand why they did it.

3. The removal of Li Shang. I miss our bisexual boy too, but I actually think they did a really great job with the new guy Honghui. The directors removed Li Shang because he is in a sense, Mulan’s boss, and they felt that it was too much like the #MeToo movement, which I applaud. At first I was upset that supposedly this new character would be a jerk to Mulan until he found out she was a girl, but that's not what happened in the film fortunately. Honghui and Mulan start off on the wrong foot but they grow as comrades and sort-of friends, and Honghui is the first to stick by Mulan’s side when she reveals who she is. Even if there aren’t as many signals of him being bi, I think they progressed their relationship nicely. (I was sorta hoping for a kiss at the end though).

4. Mulan’s “chi.” Apparently people do not like that Mulan already has a sort of warrior streak inside of her already, as opposed to the 1998 version where she struggles to get used to the army. I think this is an overgeneralization. Mulan does struggle to become a soldier, as we can see in the training montage. Similar to the pole and the arrow at the top, she cannot reach the top of the mountain carrying the buckets with her arms outstretched like everyone else at first- then when she manages to do it, she knows she has proven herself. Plus, I like that they gave her more character. We don’t see any of Mulan’s childhood years in the original, so it is a little hard to understand why she is such an outcast. She only had one incident with the matchmaker and suddenly she is questioning her identity. But the 2020 version establishes that Mulan has been different from the start and everyone has known it since then. It makes it more believable that she brings dishonor on her family so easily. And just because she has strong chi doesn’t necessarily mean she is already a warrior. She is told to hide her chi as a child, and she does not tap into it easily- her commanding officers can sense something is holding her back. She is special, yes, but she isn’t “the chosen one.” She still works hard and she still relies a lot on her strategy instead of brute force just like in the animated version.

5. Lack of musical numbers. I do miss the musical numbers. But they did well with incorporating the musical themes from the original into the movie. The little “Honor to Us All” theme playing while she gets ready for the matchmaker? Perfect. The bit of “Reflection” playing when she reaches the top of mountain? Beautiful. And “Reflection” playing at the end when she is recognized as a hero? I was bawling. Also, this isn’t the first remake that Disney hasn’t made as a musical- the 2015 Cinderella did not include “A Dream is a Wish Your Heart Makes,” (except in the credits like Mulan did), or “Bibbidi-Bobbido-Boo,” or “So This is Love.” I know that Cinderella is an older movie and may not be as beloved to this generation as Mulan, but those song are still incredibly iconic to the Disney brand and I didn't see anyone complaining about those songs being removed. Idk, I don’t think it’s a big enough deal to be upset over it, especially because they included instrumentals of the songs for the live-action version.

6. The addition of the witch. I can’t believe people are complaining about the personification of the hawk from the first movie- seriously, watch the remake and you’ll see how great Xian Liang’s character is. I love the parallels drawn between her and Mulan. Despite fighting for opposite sides, she sees herself in Mulan, and Mulan sees how she might end up if she had chosen the route of evil. I think they did it wonderfully and I’m definitely not gay for Gong Li...

7. The cost. This one, I understand. $30 is a lot to pay for a movie, but I get it because they’re losing money from not going to theaters for a few months. I paid the $30 because I felt like I had waited long enough to see it, I was foaming at the mouth the night of its release, and I had $30 I was willing to spend on it. Ofc Disney is a multi-million dollar company, so I don’t begrudge anyone pirating it bc screw capitalism.

I just had to get this off my chest because so many criticisms of this film seem so unjustified, weak, or deliberately negative. I swear, not just with Mulan, I see so many people who hate the live-action remakes- it’s like they’re trying to find things to hate about them, and I'm frankly getting sick of it. Like damn bitch why you gotta be so negative about everything?? The acting is great, the music is phenomenal and timeless, the costumes are so extravagant, the action sequences make you hold your breath in anticipation... y'all will find anything to whine about and I'm TIRED. And it seems like some of y'all are purposefully ignoring WHY they made these changes. These changes were made to adhere to the Legend of Mulan more closely, to make up for some of the racial insensitivity/cultural inaccuracies in the original, and to appeal to their Asian audience. the 1998 version is a VERY Americanized way to tell they story- so stop complaining, you got “your version” that appeals to you.

Some things I loved were

1. Mulan’s sister. It’s not often we see Disney princesses with siblings. Even though she didn’t have much screen time, I loved Xiu and the relationship she had with Mulan.

2. The phoenix symbolism. In Mulan (1998), there is heavy dragon symbolism as Mulan is preparing to run away to the army. This insinuates that Mulan is the dragon, the protector of the family, and that is why the Great Stone Dragon doesn’t awaken later. In this version, she is instead guarded and represented by a phoenix. In Chinese mythology (correct me if I'm wrong), the phoenix stands for yin and yang, harmony and is often the female counterpart to the dragon. The wings specifically represent duty, which is why the wings of the phoenix spread behind Mulan when she saves the emperor singlehandedly. Though I don’t know if they intended this, in Greek mythology the phoenix is a symbol of death and rebirth. Mulan is reborn again as Hua Jun, but ultimately in this version she is not discovered as a girl, she chooses to fight as one. The moment she does, “Hua Jun died, and Mulan was born again,” as she sees the phoenix once more. Mulan is the phoenix, and she brings harmony after defeating the Rourans. It’s beautiful.

3. The avalanche scene. A lot of the battle scene was different, but I loved that they kept in the avalanche from the original. Mulan’s planning in this one shows how big her brain is, and how well her strategy works.

4. Xian Liang and Honghui. As I already mentioned, I really loved how they portrayed these characters.

5. The fight scenes. God they really got the perfect actress to play Mulan. Liu Yifei leaning back to avoid an arrow from a Rouran? Impeccable. Mulan’s display of her techniques when she and Honghui get into it when they’re supposed to be practicing? So cool.

All in all, I loved this movie just like I love all of the other Disney princess live-action remakes. Disney obviously spent a lot of money on the action sequences, the costumes, the backgrounds, the historical accuracies, the casting, the storyline, everything is amazing. I will definitely be watching again.

#this is definitely like a rant only slightly organized #mulan #a defense of mulan #mulan 2020 #my post #my posts

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jockrightsnow · 4 years ago

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omg I would love to hear you talk more about your tags on that last post—how you research syntax/speech patterns for non-native English speakers’ dialogue. this is something I struggle with a lot in writing fic (esp writing Russian players!) and I’d love some advice on how to get better at it.

god this got long! i just care about this! i will put under a cut for the 99% who will be like u little pedantic bitch.

so my answer is probably not AS helpful for Russian players because i have not written at any length with Russian characters and their language is SO different, so i find it is trickier! but the process is likely the same. i am not an expert at this by any means (only know/have taught spanish <--> english), but i do think it gives you more believable voices and also tends to help you understand the perspective. some people are better at english than others! some are less good! some have been in english classes for a while, some haven’t! there’s variation! you don’t have to do this to write well, but i think about it.

some things i think about:

1. sentence structure/syntax--more than vocabulary, sentence structure is the thing that gives most english language learners trouble and tends to give them away. in order to figure out common mistakes along these lines, it is helpful to look up how sentences are typically structured in someone’s native language. very often, people learning english will rely on those structures. this is actually why swedish is very easy to learn for english speakers--the sentence structure is most often subj, verb, object. but there are tricks: in complex declarative sentences, the verb will always be second, even if there is an adverb or object in the first position instead of the subject, in sentences with subordinate clauses, the independent clause inverts verb and subject. stuff like that does tend to give a sentence a different feel, and it absolutely very commonly almost-always sticks with someone. it’s foundational to how people construct their thoughts, it can be hard to change.

2. pronunciation--i don’t love to see heavy dialect written phonetically and i think many people don’t, but there are ways to consider it and certain ways to write it well. certain languages have different stresses or tone ranges or pitches, which can give off a certain Vibe if you’re used to english, which is on the more expressive end of the scale in tone and pitch (obviously i don’t think that’s better, but it is different and it does affect how people hear a speaker’s voice). certain sounds straight-up do not exist in other languages, certain letters are always pronounced a different way. it leads to predictable mispronunciation. for this, resources like this are very interesting.

3. actual cultural language differences! this is in part about what turns of phrase are common, what’s the cultural (or often, can be regional) “cat who got the cream”-type idioms, what is colloquial that you don’t realize is colloquial, etc, but it can also be about how you talk about concepts on a larger scale.

the recent sidney crosby engaged fiasco is a good example of this--in russian, “girlfriend/boyfriend” has a very casual connotation, so for longer-term relationships, a russian person might say “fiancee” instead. there are certain languages where you talk about love using different words if a relationship is more casual. these are fun, i think, because i do think that kind of thing can be meaningful.

there was some book or study i read about how maybe the way we learn language impacts how we think. i think parts of it were debunked (eg not having a word for something like ‘crush’ doesn’t mean you don’t feel it, that’s silly), but parts of it are certainly true, right? like, if you have a different way of talking about spatial awareness or time, your ability to translate those concepts will be affected because your thoughts are often structured along those lines.

4. vocabulary--less important than you’d think, but still interesting to think about what words someone would have learned. i expect hockey players to know virtually every hockey-related word in english, and even in the KHL, there is some coaching done in english because plenty of non-russian players play there and never learn the language (it is very hard). pretty much everywhere, you’re going to know the english words for many hockey-related terms. but you might not know other complex words, because you might not ever have a reason to or a context where you would’ve learned it or been corrected on it.

i often have to examine or cross-examine spanish speakers, and you actually don’t want to correct every single thing they say--you only want to correct things which might lead to a misunderstanding, because you don’t want to seem pedantic to a judge or condescending to a witness.

this is also true in a lot of social settings. so i do see some things which tend to go uncorrected because they don’t lead to any wrongness. for example, videoS plural in Swedish is video klipp. it’s the same, it’s really the same. but i notice sometimes that plural S is dropped by Swedish speakers or a word like “klipp” that’s so similar in meaning and context to the english word will come it. there’s one video where petey says ‘eller’ instead of ‘or’--it’s close, it’s a word that doesn’t matter, you wouldn’t correct it, it’s normal, you get the point. there are plenty of words that are so similar they might just have a different inflection, or which are entirely the same in different languages. these will not get corrected in daily conversation for the most part.

but there are also false cognates which you DO need to correct (eg in spanish embarazada = pregnant, i do need to correct it every single time because it has a huge impact on proceedings if someone’s pregnant) and being aware of those is also helpful!

there are also some crutch words which differ from person to person (this is also true for native english speakers). when people use those and in what way can be important. there are certain things a specific person gets wrong only when nervous or not thinking or whatever (i personally find the “person realizes they’ve been speaking in a different language while having sex because it was so good” trope. exhausting, to say the least. but it is true that in higher-stress moments, someone might not have the capacity or desire to do internal translation, or might feel frustrated by it.)

i really do think all of this is Very interesting, and mostly my advice on doing it for languages you don’t know is:

1) be thoughtful about stuff, be believable. contrary to what it seems like from this whole dissertation, not every sentence needs to have errors in it, especially for people who are Growing/Learning/Actually Very Good at english. don’t be condescending about it. being at an intermediate stage in english learning might make someone choose a simpler sentence that’s still correct. it might lead to an actual relevant misunderstanding or tonal shift. it might not. it might enhance someone’s understanding of a situation! it’s not all about just fucking shit up--it’s a hard thing to learn another language. you gotta respect people who are doing it!

2) hear people talk, preferably the people in question if available but doesn’t have to be (for characters i care about less, i will often wholesale map a sentence and then copy the structure exactly. i did this for pasta because i didn’t care about actually figuring out so much about him emotionally--i just listened to his ep of sp*ttin ch*clets as i wrote and copied several sentence structures exactly with my own Content and then, as you may be able to tell, gave up on that venture to movie-montage the rest because i am Lazy.)

it’s interesting to hear someone talk both in their native language and in english--you get a feel for the tone and pitch differences, and also i love to see native language interviews because i tend to think they’re more reflective of someone’s actual thought processes when they’re not trying to come up with words or modifying their sentences to be simpler. petey’s swedish interviews, for ex, are far more reflective and eloquent and funny. but again, he is getting better very quickly, in part because swedish and english are more similar than they appear. progress is often slower for russians, because there’s a lot more ground between the two languages and a whole diff alphabet and also strong cultural affinity to where a good number of russians living in america almost exclusively hang out with other russians living in america. (see ex alex ovechkin, nikita zadorov--both have very russian-heavy social circles if Instant Gram is to be believed)

3) actually look up stuff like “common english mistakes for [x group]”--there are plenty of good language learning resources which will show you the mistakes people tend to make, the pronunciation errors, things like that. these are invaluable.

4) google translate stuff if you’re going to have a touching language-teaching moment. once read something where someone was contemplating how to say something, which they wouldn’t have done in reality, because how you say it was Exactly the same in the person’s native language. i also think it’s fun to read google-translated articles and see which things jump out at me as Weirdly translated, because those are often things which are going to be different! but that’s not gospel, it’s something you can look into. sometimes google translate is just bad.

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lavendertwilight89 · 4 years ago

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Shelter- 4: What’s your favorite line of dialogue?

....I don’t know if I can answer this HAHAHAHAHAA! This story is just... it’s so big. Honestly?? I think at the very beginning when they first met when Kag is trying to soothe Inu but Inu is being an idiot (but to be fair, a smarter idiot).

I felt like even with them just meeting it was just so them. So in character. So AH! I know it’s long but you made me choose

Also I won’t add a spoiler bar because this is literally the very beginning of the story

Inuyasha awoke feeling groggy. Something was wrong… he didn’t even remember falling asleep. The last thing he remembered it was the new moon--his night of vulnerability. His eyes felt extremely heavy; he must’ve fucked up. Miscalculated. There must’ve been a danger he hadn’t smelled or sensed before he lost his demonic abilities.

Fuck. His body hurt. The question had morphed from what happened to where was he? How was he alive? And why? He listened quietly and heard the pitter patter of rain--likely bouncing off of a roof. He smelled like he was in an enclosed hut. It was old--stagnant. Obviously, it hadn’t been used in awhile. But he wasn’t alone. There was a strong smell of lavender, honey, and jasmine flowers… it was alluring. Intoxicating. But it also scared the shit outta him. He also smelled a lot of blood. Not just his. Probably not just who he shared this little hut with either.

He sat up quickly and groaned from his stupidity. “Fuck…”

“Oh, you’re awake. You need to lie still,” he heard a soft melodic whisper from across the room. He turned to see a young woman in priestess garbs leaning against the wall of the hut he was currently in. He sensed her power and shit--he was about to fucking die. Or fry. Something. He gasped and clutched his gut as he tried to turn and run but his legs failed him.

Her sigh and shuffling made him panic until he heard her whimper. He looked over to her to see she also was grasping her own torso as she scooted towards him. She was pale. Sweating. She… didn’t look good.

“Stop,” he tried to sound threatening. It must’ve worked or she was where she had tried to get to. Water dripping from a bucket made him turn his head and see she was much closer. She grimaced and winced again as she shifted onto her knees and pressed a calming hand on his chest. She wiped the sweat from his brow and smiled softly--weakly.

“It’s okay… I’m not going to hurt you.”

“Get off me,” he said, grabbing her hands and pushing her away slightly. He hadn’t expected her to fall to the floor of the hut and cry out. Shit. He was an asshole. He noticed an overwhelming scent of blood--hers. Shifting he took her in and saw how dirty she was now that she was close enough. She was covered in demon blood--along with his and her own.

She rolled over onto her back and glared at him, “You--asshole! That’s not a way to thank someone for helping you!”

“Never asked for your help,” he shot back. “I told you to stop.”

“I thought you were just scared and confused! Not that you’d throw me!”

“I didn’t throw you, I shoved and you’re just weak.”

“Whatever,” she scoffed and rolled over to her side. She was whimpering as she pushed herself to get up and then made her way back to the wall.

He took the opportunity to see she had bandaged him--”Where are my clothes??”

“Your kosode is ruined but your haori is over there,” she gestured behind him. He wasn’t surprised. Only his kimono made from the fur of the fire rat could withstand damage. Standing uneasily, she remained quiet this time as he began to dress.

“Alright, I’m out of here.”

“I wouldn’t if I were you,” she said leadingly. He glanced back and saw a smug little sparkle in her bright sapphire eyes. He looked to the door and saw her barrier erected around the hut and grew angrier.

“Why the hell not? I’m not staying here with you, you weak ass priestess! You couldn’t even slay me!”

“Why would I want to hurt you?”

“Are you fucking blind??! I’m a demon!!”

“Half.”

“Shut up! Anyway--so you’re a dark priestess then?? Ya wanna make a deal? I don’t really do that kind of shit so you might as well lower your barrier. I’m leaving whether I have to kill you or get zapped.”

“There’s a rather large horde of demons past my barrier. It’s there to protect us… until we heal.”

“Don’t lie.”

“Smell for yourself,” she flicked her wrist and a tiny hole opened and he got a good whiff. Fuck. He’d die the minute he stepped out. There’d be no way he would make it past them.

“Damnit!” he yelled as he punched a hole through the hut. “Why didn’t you kill them, huh?? God, you’re fucking useless!”

“For your information, I was a little busy saving you,” she said in a huff. “For someone who had their life saved on such a time of weakness, you sure are ungrateful.”

“I should just fucking kill you now, bitch. But I need your fucking barrier.”

“Oh goody,” she sighed leaning her head back against the wall and closing her eyes. “Don’t worry. I’ll be out of your hair soon enough.”

“What’s that supposed to mean?” he snarled. She was planning to kill him after all! Fuck!

“I may be a priestess but I’m still human. I’ve lost a lot of blood, been using my reiki for three days straight, haven’t eaten anything, oh, and, probably have slept for maybe six hours total,” she said with a heavy groan at the end clutching her abdomen. Okay, he felt like a dick. But he was only protecting himself.

“Why haven’t you been taking care of yourself? You’re of age to be independent. How the hell have you lived so long if you’re this dumb?”

“Gods! I’ve been taking care of you, stupid!!!” She yelled at him with tears in her eyes. “Gods just shut up! I’m sorry I saved you! Obviously I messed up--you clearly were trying to commit suicide. Don’t worry, in a couple hours, I’ll probably be dead anyway, my barrier will fail and they’ll eat us both!”

“Shut up! That’s not what I meant!” Inuyasha kneeled down at her feet, still not willing to get too close to her but she wasn’t going to be able to reach out in her state at that moment.

“Oh??? Want me to use myself as bait so you can escape??? Lessen the guilt so you won’t have to watch me die?? Prefer to think I just waltzed right out of here rather than succumbing to my injuries!!?”

“No! Fuck! Stop fucking talking!!”

“No really!! Tell me what it is you want! What do you need?? I live to fucking serve!!”

He finally lost his temper and slapped his hand over her mouth and glared into her wide eyes, “Shut. Up. Look, I overreacted. I didn’t remember what happened--still don't--I thought you were trying to kill me like every-fucking-one else--and I admit, I’m a jackass.”

She just continued to glare at him and then she did the craziest thing he had EVER had happen to him. She. LICKED. Him. What. In. The. Fuck!??!?!

“Ugh!!!” he yelled and pulled his hand away like it was on fire. “You--you--youuuuu---WHAT THE FUCK IS WRONG WITH YOU?!!? YOU LICKED ME!!!”

“Jeez, you’re acting like I just shot you with an arrow,” she mocked rolling her eyes.

“You’re--you’re so fucking weird!! Are you even a priestess?!!?”

“Uhm, duh?”

“Don’t you know demons are inherently evil?? That as a priestess, we are naturally enemies?!" He felt like he was going to explode from rage that was driven by confusion. This woman hadn't tried to attack him yet. No matter how much he cursed her, poked and prodded her, insulted her-- she just took it. Rolling her eyes. Like she knew him.

"Yes-- I'm aware we are 'supposed' to be enemies. I just don't believe in that notion. Not all demons are bad. You exist because a human and demon obviously loved each other to make you. I have demon friends that I care for, well, cared for." She sighed and took a ragged breath. "Look, I don't want to spend what could be my last hours arguing. I accept your lame apology. I forgive you."

"You--you what???"

"You’ve obviously had a rough life to be so callous. I'm just sorry we couldn't have become friends," she added as her shoulders relaxed somewhat.

"Oh fuck no! You're not gonna fucking die on me!"

"Haha, are you a demon of the underworld that can prevent that? I'm also not dying yet. Just resting." Her demeanor didn't convince him.

"No, but I can heal you."

That made her eyes open again. "Hm? How?"

"I don't like owing favors and I unfortunately think I owe you a lot… my uhm… " Well shit. How was he gonna tell her? He doubted she'd accept help. She seemed to have about as much pride as he did. She wouldn't sully herself to be healed...

"How about while I rest, you think of a way to tell me of your little 'secret'," she said as gruffly as a kitten. She was pretty weak, he probably shouldn't let her sleep. If she did, he wasn't sure she'd wake back up.

"No."

When she didn't respond he slightly panicked and reached out and touched her to rouse her. Even though he shouldn't care, she rescued him and likely gave her own life for his.

"Hey! You cannot sleep!! Bitch, wake up!!"

"Ugh, I liked you better sleeping. I at least could imagine you being nicer."

He let out a breath he hadn’t known he had been holding and clipped, "Regret saving a half breed already?"

"No."

He blinked. Twice. Three times. She opened her glazed over ocean eyes and locked with his, "Why do you assume I'd regret giving my life for yours?"

"I can run off twenty reasons right now."

"Mmmm… I'd prefer not to hear any until after you let me nap. Next time you stir me I may make you regret giving me the idea of zapping you," she smirked weakly before letting her eyes shut again.

"You better just be sleeping," he grumbled.

"Don't worry. I'll see your handsome smirk again," she slurred, finally succumbing to sleep.

Sputtering and blushing from her words he got up quickly and exited the hut. Fuck. She was crazy. All he could do was equate her insanity to her exhaustion, blood loss, and hunger. Yep. That made the most sense. Finally calming his racing heart, he noticed the barrier wasn't just around the hut; it seemed to stretch out into the forest. Maybe he could find something to eat… rebuild their strength. Would animals be able to enter the barrier? How was the barrier able to even be maintained this long? How was this woman so powerful?

I just feel like it really ahhhhhhhh!!!! LOL Thanks for the ask @superpixie42!!!!!!!!!

Wanna read the rest of Shelter? Click here!

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drakeandkatherine · 4 years ago

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The Royal Romance AU Fan Fiction- Drake x MC Trouble: Chapter 2 I Dare You

Finally! Chapter 2 is here! Catch up with chapter one here! (also made a couple small dialogue changes so feel free to read it again! also...cause its been months since i posted the first chapter I feel like a refresh might be needed)

Trouble will be completely different from my previous fic, Trouble Is.

As always, Drake, Hana, Liam, Maxwell, Olivia, Madeline, and any other characters from The Royal Romance belong to Pixelberry. My MC Katherine Delacroix is all mine and i love this bean.

Description: A game of truth or dare with a twist await Katherine and friends. What could go wrong?

In this AU the TRR gang are in college and royal life never existed for them! As I write these characters, I am trying to think of how they would be and how they would act and talk, if they never had courtly manners and rules to follow. I want to keep them similar to TRR canon, but not so much that it isn't realistic with how they are without a royal life in Cordornia. So please bare with me!

Warnings: drinking/alcohol use, language, drug mentions, death mentions

Tags: @drakewalker04 @burnsoslow @marshmallowsandfire @princessleac1

“Alright! I think we have enough players. Let’s get this game started!” Maxwell smiled and looked around the small circle that had formed around the fire pit.

“What are the rules this time, Maxwell?” A blonde sitting across from Katherine asked. ‘He looks like a prince.’ Katherine thought.

“Ah, good question, Liam. The rules tonight will be...” Maxwell took a minute to think. “Aha! If you pass a dare, you have to take a shot. Truths are free game, but you can’t pass a dare without taking a shot!” Everyone nodded. Just then, a platinum blonde came stumbling to the circle, sitting on Liam’s lap.

“Are we really playing this stupid game again?” She asked, taking a swig of the bottle she held in her hand. Liam sighed, looking visibly annoyed.

“You know, Madeline, if you don’t want to play, you can go back inside.” He said, clearly not enjoying the drunk girl sitting on his lap. Katherine couldn’t help but stare. This girl, Madeline, was clearly wasted. Madeline noticed Katherine’s eyes on her.

“What are you staring at?”Madeline’s eyes narrowed. Katherine shook her head.

“Just admiring how pretty you are.” Katherine lied. She didn’t say anything more. Drake leaned over and whispered in Katherine’s ear.

“That’s Madeline. Liam is her ex boyfriend, the one who’s lap she's sitting on. Liam is also my best friend, so I truly have a distaste for that bitch.” Katherine nodded, understanding. “They had a bad break-up, but every time Madeline gets like this she believes they’re still together.” Nodding, she turned her attention back to Maxwell.

“Okay, time to start! Hmm, I think I’ll choose the newbie first. What’s your name?” Maxwell looked to Katherine.

“Me? I’m Katherine.”

“Alright then, Katherine, truth or dare?” Maxwell smiled.

“I guess I’ll start off strong. Dare.” She noticed as some of the others in the circle smiled and snickered, possibly thinking she was a fool for picking dare on the first turn.

“Oh, hell yeah! Starting the game off right! Okay, I dare you to stand on one leg until you’re chosen again.” Katherine groaned.

“I’d rather take a shot, thank you.” She grabbed one of the bottles nearby and poured a shot. She tossed it bag, ignoring the urge to gag. ‘Ugh, vodka is not my thing.’

It was her turn to choose next, so she chose Madeline. “Madeline, truth or dare.” Katherine smirked.

“Ugh, if I have too. Truth.” She slurred.

“Why are you acting like a clingy, pathetic puppy towards Liam when he is clearly annoyed with you?” The group went silent. No one had ever stood up to Madeline before, much less insulted her. Katherine hated these kinds of girls, but never had the confidence to do anything about it. ‘Again with this weird confidence. Who am I?’

“Why you..” Madeline started to get up from Liam’s lap. “How dare you speak to me like that?”

“Speak to you like what? Like a normal, sane person asking why you’re being the exact opposite? Get a clue, dude. Stop acting like you’re still together with him, he clearly wants nothing to do with you. Anyone here can see it.” Madeline was seething now. She started taking steps towards Katherine, stumbling. Partygoers had begun to pull their phones out, recording what was happening.

“You’re going to regret th- ow!” Madeline tripped and fell onto the grass, the bottle in her hand dropping and spilling all over Hana.

“Oh my god!” Hana jumped up from where she was sitting, now soaked in the vodka Madeline had spilled. Some who saw what happened started to laugh. Some looked like they felt sympathy for Madeline.

“Come on, let’s get you to bed.” Liam sighed as he went over and helped her up. “I’m sorry about all of this, excuse us.” He left with Madeline, nearly having to carry her into the house.

“That. Was. Awesome!” Maxwell exclaimed, turning excitedly to Katherine. “I haven’t seen anyone put her in her place like that since Olivia did, almost a year ago.”

“Did someone say my name?” A red-headed girl walked over. “That was impressive, I’m Olivia.” Olivia held out her hand. Katherine shook it and smiled.

“Thanks. I despise people like that, so I just said what everyone was thinking.” She shrugged.

“Well, you’re good in my book. I hate that soul sucking succubus.” Olivia laughed. Hana walked over to the little group and grabbed Katherine’s hand.

“Hey, I am soaking wet, mind coming inside with me while I dry off?” Katherine nodded.

“Sorry guys, gotta go for now. I’ll see y’all later!” Katherine followed Hana indoors and stood outside the bathroom as Hana grabbed a towel to dry off the vodka. After a few minutes of waiting and growing impatient, Katherine wandered down the hall. She noticed a door was open and took a peek inside. Drake was sitting on the bed in the room, filling up a glass pipe with what looked like marijuana.

“You gonna share?” Katherine asked, stepping into the room and spooking Drake in the process, nearly making him drop the pipe.

“Jesus, knock next time would you?” Drake scolded. Katherine took a seat next to Drake and laughed.

“I could, but that wouldn’t be any fun.”

“Whatever. I guess I could share a couple hits of this with you.” Drake said before lighting the bowl and taking a long drag. As he exhaled, he passed it to Katherine. “You smoke?”

“Occasionally. Not as often as I used to.” She said before taking her own long drag from the bowl. “Whenever I snuck out and went to my friends house we would always smoke a bowl.” Her fingers brushed his as she handed it back to him, a jolt of electricity running through her from the touch. ‘I wonder if he felt that too.’

“Heh. I only smoke every once in a while. Just to calm my nerves or irritation from all the dumbasses who come here.” He put the bowl on the side table next to the bed. “Sneaking out? Guess you must have had some strict parents.”

“My grandma was pretty strict.”

“What about your mom and dad?”

“Dead.” Katherine said deadpan. Drake cursed himself.

“I’m sorry, I didn’t mean to bring up something.” He apologized, but Katherine shrugged.

“It’s okay, they died when I was 6.” Katherine forced a smile. “I barely remember them.”

“What happened?” Drake scooted a little closer to her on the bed, hands nearly touching.

“Some bad shit. Like, really bad.” Katherine took a breath. “When I was six, we were visiting my grandma and they had gone out in the middle of the night. They were heavy drug users, I’m talking about heroin, meth, pills. The whole works.” Drake put a comforting hand over her own, nodding and listening.

“Well, I found out what happened when I was older. I found out about how they were users. That night they left, the night they died, was because of a drug deal gone wrong. My mom waited in the car while my dad went in to the house they were at to buy more heroin. He never came back out. Apparently he started a fight with them about the cost and the quantity or something and it got so bad that they just shot him dead. They found my mom, high off of her ass in the car. She had no idea what just happened, and she didn’t even notice when they walked up to the car window. They shot her through the window and fled the scene.” Katherine’s eyes filled with tears. She wasn’t quite sure why she was telling the whole story to a man she just met, but something about him made her trust him. Something about him simply screamed to her that he was safe.

Drake squeezed her hand and pulled her into a hug. He held her as she sobbed quietly.

“I’m sorry, that got really dark and now I’m getting make up on your shirt and I must look like a mess.” Katherine said, wiping the tears from her eyes and sitting up right. Drake gave her a small smile.

“It’s alright, you have nothing to be sorry for. I’m sorry that happened to your parents. And to you. No one should have to go through that.” Katherine managed a small smile, thankful for his understanding.

“Thank you, Drake.” A moment of silence passed between them, before she spoke again. “What about you? If we’re sharing our life stories, might as well get it out.” Drake looked at her for a long moment before sighing.

“Well, my mom lives in Texas. It’s where I grew up and met Liam. My dad was in the military and died overseas. My sister goes to a college in Texas, she didn’t want to leave. I felt like I had to the moment I could or else I was going to go insane and be trapped there forever.” Katherine knew exactly what he meant.

“So, how did you end up here? How did you meet Liam?” Katherine asked, lightening up the conversation.

“Liam lived in Texas for a few years when we were kids. We went to the same school and became best friends pretty quickly. He ended up moving here, due to his dad getting a job as this colleges dean. After my dad died, I knew I had to get out of Texas. I’d see Liam on breaks from school occasionally, and one time he mentioned that I should try to get into Applewood. So, that’s what I did. I played sports and kept my grades up in school to make sure I’d get accepted. I’m here on a scholarship, believe it or not.”

“I can believe it.” Katherine said, smiling. “That’s why I’m able to be here.” She looked at him, feeling the magnetic pull becoming stronger from their conversation. Drake felt it as well, now inches away from her lips, until they heard a loud round of cheering coming from downstairs. Startled and flustered, Katherine stood up from the bed. “We should get back to the party.” Drake nodded, standing up as well.

Upon returning to the party, they made their way to the kitchen where none other than Hana was lying on the kitchen isle, with her shirt pulled up. Three shots were lined on her stomach, along with salt and lime wedges.

“Hana, what are you doing?” Katherine asked, walking up to the isle.

“Body shots! This is so much fun!” Hana laughed. After a random partygoer took the shots and licked the salt off of Hana’s stomach, she stood up and nearly fell to the floor.

“Whoa, we should get you back to our dorm. You’re definitely drunk.” Katherine said as she caught Hana before she could fall to the floor.

“You’re probably, hiccup, right.” Hana giggled. Katherine looked at Drake. “I’m sorry, but I have to go get this one to bed before she throws up.”

“It’s all good. Make sure you guys get back safe. I’m sure we’ll see each other again soon. Good night, Katherine.” Drake smiled, before turning away and walking back up the stairs to his room. ‘Dumbass. Why didn’t you offer to walk with her?’

----------------------------------------

“Alright, Hana. Here you go.” Katherine laid her down onto the bed, even going as far as taking off her shoes. Within an instant, Hana was quietly snoring away. Katherine quickly changed into her pajamas and crawled into bed, mind reeling from the events of the night, and thoughts of Drake. Before long, her body gave out and she fell into a heavy sleep.

#drake walker #drake x mc #mc x drake #katherine delacroix mc #DRAKE AND KATHERINE #drake x katherine #trr fan fiction #trr au #hana lee #liam rhys #maxwell beaumont #olivia nevrakis

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infernwetrust · 4 years ago

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AHS 1984: Between The Lines [Xavier Plympton x Chet Clancy] 2. Upset Me

PART 1

Summary: A world before the horror. A world with some horrors. A fantasy world, where things are slightly normal. A world where Chet Clancy has been in a relationship with his long term girlfriend, Brooke Thompson. A world where Xavier Plympton, struggles to find himself after a dark past. But what if I told you that's not all who Chet is romantically involved with? What if I told you there’s a little bit more to Xavier than what he presents himself to be? What if I told you to read between the lines? Together we'll explore friendship, love, deceit, and sexuality on a different level.

Rated: R for Restricted. 18+ Very Mature Themes.

Warnings: Alright folks, I’m going to be very honest with you. This book can get dark and depressing sometimes. Due to it’s unpredictable nature, since it is a work in progress, read at your own discretion, and apply tags as you see them fit. I will be giving warnings at the beginning of chapters that do take it to that level. If you do choose to read and you come across anything that makes you uncomfortable, please don’t hesitate to reach out to me. I am all ears.

WC: 1.4k

"Did anyone remember to grab joint papers?" Chet asked. "I used my last one outside." A now, shirtless Chet, stood at the top of the stairs. He combed out his hair and was wearing a gold chain. His eyes scanned his rather large living room where his friends had spread out to their comfort. Except not really. Brooke had no problem laying against Xavier's side, his arm in the back of the sofa,while he was having a conversation with Ray.

Xavier paused his sentence to turn his attention towards Chet who was now at the bottom of the steps. He couldn't help, but to glance over him one good time.. or twice.

"Montana said that she would bring hers if she remembered to, so we're just waiting on her." he spoke. "What's the rush? I'm sure you and Brooke here are high out of the ass."

"And wouldn't you love to be too?"

"Why is that even a question?"

"Why do you ask so many questions?"

"Please don't start this." Brooke interjected. "I've dealt with your bromance long enough in high school."

"Seriously." Ray added on. "When are you two not going at each other's throats. And it's always for something stupid. And to top it off you start talking again like it never even happened."

"Total bullshit." Xavier directed towards Ray.

"Yeah what he said." Chet chimed in, lifting Brooke's legs up to sit down. He gently placed them on his lap and smiled at her before throwing his arm around the sofa, just a little higher than Xavier's.

"You two argue like an old couple. It's kind of cute actually." Brooke spoke again. "Chet you should see your face when X mentions anything about sports."

"Because I know that he's only saying it to make me mad. I've known this kid since we were toddlers and he has never had interest in sports."

"False." Xavier interjected.

"Oh did I mention he thinks aerobics are a type of sport, when it's a type of exercise?"

"You're joking right?" Ray asked Xavier. Xavier stayed silent, avoiding eye contact with every single person in the room. Chet stared him down like a dog with a heavy smirk on his face.

"Go on." Chet said, slapping the back of Xavier's arm.

"Jesus Christ, he's not joking."

"I hate you. You disgust me. And I hope you choke on the beer you decide to drink tonight." Xavier said to Chet, getting up without warning Brooke who's head was now where he once sat.

"A warning would of been nice."'she mumbled.

"Where are you going?" Chet asked trying to hold back his laugh. He was ignored as Xavier headed for the door, taking out a box cigarettes from his pocket.

"You done did it now." Ray said to Chet.

"Oh fuck me..." Chet sighed, throwing his head back. "Xavier I didn't-,"

The door was already slammed shut.

"Fuck." Chet quickly got up, again, giving Brooke no warning, hustling out the door behind Xavier. He stood at the bottom of the porch steps, hand in his pocket, puffing on his cigarette. He looked over his shoulder slightly at Chet, who ran his hand through his hair.

"Xavi." he called out.

"You know, Clancy." Xavier spoke. "You don't do well at keeping your mouth shut."

"And neither do you." Chet joined him at the bottom of the steps and the two sat down. Xavier took another pull before passing the cigarette to Chet who gladly accepted. "A little nicotine never hurt anyone right?"

"A little nicotine?" Xavier jokingly asked, looking at Chet and grinning. "I wish, Chet. I've been smoking since I was 12. I'm so fucked up." He sighed, putting his head between his knees.

"Just smoke more weed."

"I can't afford to keep being high all the time."

"Bullshit. You want to be a big time actor. You can more than afford to keep being high all the time."

"Not on set. In a couple years that stuff is going to ruin your memory. I promise."

"You get on my nerves. Always trying to be so good, innocent, and pure. Always trying to spit some words of knowledge." Chet punched him in the side of the arm. "But if you want to keep that pretty face of yours, you need to stop smoking cigarettes or at least try cutting back."

"This is coming from the guy that's done coke twice now."

"How did this become about me?" The two looked at each other and started laughing. "But, listen. I'm sorry. You told me not to tell anyone about that and I did. You can tell everyone about the time I pissed my pants in public."

"No." Xavier responded, softly. "I'm not going to do that. It's not the worst thing you know about me." Chet had to go way back into the memories he had with Xavier. He had too many. And then he remembered.

"Ooo, yeah. Let's not ever talk about that one."

"Ever."

Chet handed him back his cigarette for him to finish up, but instead of finishing it, he simply flicked it into the grass. Xavier cared about his face too much to finish it. This one at least. He looked at Chet, who was now staring now at his hands, playing with his finger nails. He admired everything about him. From his hair, to his eyes, to his lips, and everything below. Xavier didn't want to admit this, but he liked Chet. He knew how fragile Chet's masculinity was, so he made sure to never push those buttons when he made his sexual jokes around his friends. A flirt, he was, but Chet made him feel small despite the small height difference.

"Are we moving the party outside?" a well dressed Montana asked as she stood behind the gate, chewing her gum aggressively.

"It's about time you showed up." Chet said. "I've been sobering up and I don't like it. Did you bring those papers?"

"Well it's nice to see you too, Chet." she responded, blowing a bubble. She stared her ex up and down. "Xavier."

"Demon that haunts my dreams." Xavier responded, rolling his eyes.

"You miss me."

"I hate you."

"You want to fuck me."

"I want to choke you."

"Are you guys dialogue fucking right now? I can feel the sexual tension in the air." Chet spoke.

"I rather die."

"That's funny, Xavier. I swear you were moaning my name last week at your party."

"That was you two?!" Chet's jaw dropped. "I was wondering where you went Xavier. Anyone that stood at the bottom of the stairs could hear you guys. See I knew there was still some love there."

"Oh please. I was drunk, high, and horny and so was she. It was a mistake."

"Then why did you kiss me yesterday when I came to give you back your flannel that you haven't stopped bugging me about?"

"Fuck off, Montana." Xavier got up swiftly, eyeing her down.

"Make me."

"Okaaaay. I think I'm gonna go back inside." Chet said, also getting up. "When you two are done lusting, I hope you'll join us and not go fuck in the woods somewhere."

Xavier and Montana stared each other down as Chet made his way back inside and as soon as they heard that door slam they went after each other.

"Why are you such a bitch?" he asked her.

"Ugh. Why are you?" she asked back. "You get fucked up, coming knocking on my door or calling my house. You tell me you love me, fuck me senseless, and then you leave and start acting like this. And I thought I was the moody one in the group."

Xavier hung his head low for the second time tonight, laughing quietly to himself.

"And you're just going to leave out the part where you do the same? Where you show up to my door, crying over me? Where you literally beg me to fuck you all the time and get livid when I say no? Right. Montana, please go fuck yourself."

"You already do that."

"Yeah, not anymore." He turned around to head back in the house.

"You won't last. You miss me too much."

"I'll hope for the day when you're not so full of yourself, sweety."

"Coming from the guy who thinks his face is worth billions of dollars."

"I'm gonna pretend like you didn't just say that. Now come on, let's go inside."

Toxic. But we'll examine that next chapter.

#xavier plympton #cody fern #cody fern imagine #xavier plympton imagine #gus kenworthy #chet clancy #ahs #ahs 1984 #montana duke #billie lourd #emma roberts #brooke thompson #deron horton #american horror story #american horror story 1984 #xavier ahs #ahs xavier #ahs chet #chet ahs

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thegeminisage · 5 years ago

Note

hey liz i've been thinking a lot about story structure lately and i wanted your take on how you decide what structure your stories will have? i know there's that "you have to do what your story needs and tells you to do" thing but these bitches dont ever tell me anything they just multiply so. thoughts? - bma

(as an aside, i don't know whether involving medium would change many things but it may be worth considering. mainly i think medium is just a matter of arrangement and that the story would be for most intents and purposes the same no matter how you choose to tell it. i guess you could argue that structure is arrangement in itself and intrinsically tied to medium but i sort of feel like it is secondary arrangement, if at all? like if you consider time as an element to outline -- the time IN the story (how things happen to your characters) is not necessarily the time you’re telling the story IN (how you are telling your reader that things are happening) aka internal chronology doesnt equal your work’s pacing? or should it??? does this make sense? i dont think so. i am sorry.) - bma :|

NOOO dont be sorry ur making total sense

i think there’s 3 thots to unpack here (medium, structure, & chronology) & i’m gonna start with medium bc it’s easier. im also putting it behind a cut bc it’s gonna get just stupidly long and rambly. i’m sorry in advance if it’s not helpful to you, i have a lot to say for someone who has never taken even one single class on writing and as a result doesn’t know jack shit (there’s a tl;dr at the end dont worry)

about MEDIUM:

so like ok i’m just some goof-off with a HS degree who writes fanfiction but In My Very Super Qualified Personal Opinion, i don’t think that most of the time medium is intrinsically tied to STRUCTURE of the main storytelling arc...i think the art of storytelling itself is distinct from the medium you choose to tell the story IN. this post puts it better than i ever could but basically for me, i feel like the story itself is sort of the raw, malleable concept, and the medium you choose to tell it in is how you convey the information??

like in a book, you can say “she forgot her keys” and in a film you have to show her smacking her forehead, heading back into the house, and swiping her keeps off the counter. you can’t TELL in film, you have to show. similarly i regret every day i cannot perfectly describe a facial expression with words when i see it so clearly in my head. for audio-only podcasts that are dialogue heavy out of necessity you have different limitations than you would for, say, animated music videos with no dialogue at all. games allow for more interactivity and exploration while sacrificing accessibility, tv shows allow for more length while sacrificing, uh, a big hollywood budget...medium affects the kind of story you can reasonably tell which is why some stories are better suited to one medium than another. i think trying things in other mediums is a good way to stretch your storytelling muscles but with enough skill nearly any story could be told in any medium. i think when trying to decide on a medium you just gotta weigh the pros & cons and what you feel comfortable with/what you think would be most effective/what would evoke the strongest reaction

re: structure:

firstly “do what the story tells u to do” is a little silly like...the story isn’t sentient. come on. that’s like “i can only write when the writing gods inspire me” there are no writing gods! inspire yourself! it’s all in our weird messed up brains! ok anyway.

this is, again, just how i do things, and i am 700% self-taught so take it with a grain of salt, but when i sit down and start blocking out a story from scratch i don’t...actually consider the big structure at all! sorry if that’s not helpful to you. i like to make a list of everything i want to happen, and then put it together in a few different orders to see what looks best. and when i’m finished, whatever i have just like...IS the structure i go with, with perhaps minor tinkering to make it flow more smoothly. (i think this might be in the same spirit as “do what the story tells you” with less bullshit and more Agency Of The Writer.)

for long and more complex projects, i actually usually have several lists - one list of stuff that is, for example, the Action Plot (the kingdom has been cursed, i’m tracking down my serial killer sister to bring her to justice, i’m running from djinn who wanna kill my dad, i’m trying to bring my dead not-boyfriend back to life). then i have another list for Character A & Character B’s romance or whatever. and maybe a even another one for solo character development (magicphobic prince learns to love magic, former werewolf hunter figures out his family is a cult, half-demon learns to embrace his own nature). and as many lists as we need for however many Main Characters and or Plots/Sideplots

how i order the lists: individually first. don’t mix them together to start with. when deciding the order of an individual list i like to, for example in a romance arc, use escalating intimacy. “A and B have dinner together” is naturally gonna go way sooner than “A and B kiss” or “A and B talk about A’s angsty backstory” because that’s more satisfying. draw it out, good/important stuff last, dangle that carrot so we have a reason to keep reading! for singular character development, it’s basically a straightforward point A to point B...if i want my guy to start hating magic with everything he is and end up being very comfortable with it, i have to put “reluctantly uses magic to save his own life” WAYYY before “casually using magic to light torches and reheat his cold stew.”

the tricky part for me is when i’m done with these lists and then i need to mix them together To Pace My Whole Story. (this is usually why i wind up with a rainbow colored spreadsheet.) i don’t like to put too many things too close together because then the pace feels uneven. even if my Action Plot is only a thinly veiled excuse for romance and character development, i still don’t want to focus on a romance for 30,000 words and then go “and oh yeah in case you forgot Serial Killing Sister is still coming for your asses.” the more sideplots and major character arcs you’re juggling the harder it is to get an even distribution, which is my main concern always

and like, generally, whatever i have when i’m finished...is my structure. (sorry.)

i don’t know much about the classic 3-act or anything like that, but i usually can divide them up into 3-5 big arcs based on story turning points. sometimes i take a scene out of one arc and put it in another because it fits better and i like for my shit to be organized, but usually by the time i’m finished with all that, that’s what the final story is mostly gonna look like. (there have been a few exceptions when i realized i needed extra scenes/changes while i was MID-DRAFT and let me tell you that murders me EVERY time. it happened on the merlin fic i’m currently posting and that was like my own personal hell.)

this is also where thots about chronology come in:

i think time CAN be an element of this if you WANT it to be, but it doesn’t HAVE to be. if you want it to be, i would consider it just another “list” like character development or the romance arc.

i usually plot without considering Time very much...to me, it’s all down to the events you want to show, and however much time it takes is the byproduct. if you want to show something from a character’s chilhood but then tell the bulk of it when they’re adults, that’s one thing. if you want to show a scene from their childhood, teenhood, young adulthood, etc, that’s a different kind of pacing?? i usually do it this way so i can regard time like wordcount: it takes as long as it takes. 3 days or 3 years, a 1.5k drabble or a 100k epic...overall, my LARGEST CONCERN is that even distribution. in the same way that i don’t want one chapter to be 30,000 words when the rest are 10,000 words, i personally am not a fan of huge timeskips offscreen

(because this where i think someone’s own internal chronology DOES matter...this is just a personal preference, as a reader i have a hard time really comprehending, say, a year timeskip or a 10yr timeskip when all i did was turn one page. like, a year is such a long time. i can’t even begin to describe how different i am now to how i was a year ago. it’s the same for character development. time IS development and as a writer i’m not really comfortable having that take place offscreen - for main characters, at least. it’s just too jarring. a little prologue with something happening 10 or 20 years ago is usually fine, but for the most part, i’m not a fan. ...i can do one chapter per year a lot easier than i can do two chapters in childhood and the other 8 in adulthood. of course you can play with this a LOT with nonlinear storytelling, which is a whole other very cool thing, and someone skilled in their work can keep me sucked in no matter what, but imo if you don’t want to risk throwing your reader out of your work it’s better to keep things steady)

HOWEVER sometimes time IS an element u wanna consider outside of just making sure your shit is evenly distributed...if your heart is moved to tell a story in a specific timeframe, over a year, or from solstice to solstice (this was almost the timeline for my merlin fic and then i changed it), for the first six months of a friendship, or even a huge journey in the span of a single day (toby fox had a lot of success with this one lol).

i think it can help to choose a start and end point for your chronology the same way you do for character development (prince goes from hating magic to being ok with it, story takes place from ages 8 to 25, or from new year’s eve 2038 to 2039, whatever) - that way you can keep your distribution even, if that’s a thing you want to do...even if you have a lot of skips you can still note what happens offscreen to make it work better in your head? like, if you just make it another List, another column on your spreadsheet, when you’re in the early stages of organizing you can be conscious of it and make sure it’s playing into the story the way you want it to

anyway these r my thots im SOOOO SORRY this is so long lmao. brain machine broke today which is why i had to ramble more to explain myself. the tl;dr in case ur brain is melting out of ur ears & u didn’t sign up for an essay:

imo medium is totally distinct from storytelling tho ofc some stories are better suited to some mediums

structure? i don’t know her. i plot w/o regard to structure and then if it looks funny i mush it into a more structurally sound shape

my main concern when structuring anything, including time, is an even distribution of Events and a steady rate of escalation

structure to me is just what i have when i’m finished plotting. i’m sorry one day i’m gonna take a writing class

internal chronology matters to me personally because i have a little bit of time blindness but maybe not to everyone, i know many very successful stories where they disregarded that entirely to no ill effect

writer’s block isn’t real! everyone just needs more rainbow spreadsheets

thank u for asking I HOPE i didn’t make you regret it too badly lmao and that at least a little of it was helpful!!

#personal #liz loves writing #liz answers asks #brit marling anon #i couldn't figure out how to answer u without walking u thru my entire process #so that's what i did and that's why it's so long. very sorry.#im gonna set this up to reblog itself at the time u sent ur ask so that ur sure to see it!!#edit: there was SUPPOSED to be a cut on this but tumblr put it in the ASK?? i can't seem to fix it. rip

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