#YOU NEED TO ACKNOWLEDGE THAT THERE ARE GENRE CONVENTIONS OR YOU ARE SIMPLY READING A GENRE YOU WILL DISLIKE

[composeregg]

"Yona is being selfish"

have you considered that she has no assurances that any promises being made will be upheld?

from her point of view, the dragon gods have only hurt her friends and threatened everything she loves, she has NO reason to trust them!

The dragon gods are acting like her father did, denying her the agency to make her own choices even when she states what she wants loud and clear. The threats to her country are being made BY THESE DRAGON GODS, these threats are not some immutable fact, they have a place of origin, and she refuses to accept ANY of this.

Because she's not the spoiled selfish princess her father sheltered from everything anymore

She's a woman who has seen the world at its best and its worst, and is determined to forge a path ahead with her own hands, with the people she cares about, for the country she cares about

Yona is choosing to have agency, even when gods are trying to strip her of it. Their threats are threats, and she will see this mess they have made and fix it.

The dragon gods are being selfish.

Why do you want Yona to give in to these demands? To bow her head to the ones proclaiming to know what's best for her and her people? Who keep adding threats to what she loves JUST TO MANIPULATE HER INTO DOING WHAT THEY WANT?

The point of Akatsuki no Yona is not that "Soo-Won has always been right to discard all emotion and focus solely on saving the country" OR that "Good emotions are all you need, you must never face any hardship and it will all work out okay"

The point is Yona's journey into finding a 3rd path, a balance.

She can love her father and think he was not fit to be king. She can still care deeply for Soo-Won, and think he makes a better king, and yet be hurt by his actions.

And she can mend all the pain of the past, and stop the cycle of revenge, and stop the cycle of pain and hurt for EVERYONE. Her country, her dragons, her people, her friends.

It's not being selfish to refuse to give in to these demands. It's simply refusing to play by rules others have made which state there are only two paths, when you can see three.

[mermaidsirennikita]

I'll be completely honest, I just kinda feel like the romance genre needs to accept that dubcon/noncon, whether or not you want to read it, was a big part of the genre's history.... and no amount of rerelease editing is going to make that go away.

You wrote a book; it was a long time ago; you followed conventions of the time; you maybe wouldn't now; but you were in fact writing into a genre that did raise you creatively on this element being a big part of it.

No issue with authors wanting to voice what they'd change, make edits with author's notes (and without the erasure of the original content). But pretending it didn't happen does nothing to help us, and it frankly makes it harder to treat the genre as one deserving of serious, potentially academic, analysis. If you're erasing the original work because it makes you uncomfortable, how can we discuss it honestly and analytically and contextually.

This is a very different matter in some ways, but—Eloisa James (an academic scholar who got her doctorate from Yale and taught at Fordham at one point, among other things) backed out of writing the forward to a special edition Georgette Heyer book because of the antisemitic content being removed. It erases an important part of the work, however we may dislike it. How can we DISCUSS the book if the book has been mangled and its history compromised?

"But it's less readable with the bad content", I mean, yeah. For a lot of readers, noncon and dubcon takes a book off the table. And that's so valid. And it's also true that no book can be for everyone. It Happened One Autumn is not for readers for whom dubcon and noncon is a hard stop. I so respect that. I frankly think it's a bit insulting to butcher a book like that in order to get readers who have hard limits to read something that like... famously did. Just let them pass on a book.

I mean, the reality is that for the AUTHOR, there are many reasons to make edits likke these, and again, I'm not necessarily against releasing a VERSION of your novel that better matches your perspective today... as long as that's very clearly not the only version around. For the publishers? It's money. It's making a book more palatable to a larger group of people.

But also... some people like reading dubcon and noncon. And that's okay. And they should have books with content that they like to read, too. And it's fine. There's a huge history of women reading that content specifically to process complex feelings about their experiences and their feelings about their places in the world, and also to simply have fun, and... yeah. That's valid, too.

I just have a lot of feelings about this practice, and it really does come back to a love of the genre and wanting everyone to have books that they enjoy reading (while acknowledging that literally zero books work for everyone and that's OKAY). And a RESPECT for the genre too, and a desire to make it something you can study, if you so please, like any other. I think there's a way to satisfy readers who want to just read for fun and people who want to read for fun and take the genre seriously. We just don't need to make every book cozy and without people who have flaws in order to do so.

[longsightmyth]

what's a book or series that you genuinely love? I'm always seeing your commentary on "not so great" (bad) books (no hate, love ur commentary) but I'd love to know the ones you like best.

Ah tumblr search function you fail us yet again (inexplicable fondness).

"The ones I like best" is a very broad category that I will try to narrow down I guess?

My favorite book of all time remains The Hundred Thousand Kingdoms by NK Jemisin. The other books in the trilogy are still excellent (I have yet to read anything by NK Jemisin that is not excellent) but specifically the first book of the inheritance trilogy remains my favorite. Other standouts of hers include the short story The Effluent Engine and the second book of the Dreamblood series, The Shadowed Sun (though, again! I cannot stress enough that I'm not even sure NK Jemisin could write a bad book/story if she wanted to!)

I routinely recommend all of Alyssa Cole's romances: not only are they incredibly inclusive, the characters navigate believable conflicts based around their characterization and not simply Because Of The Plot. Her contemporary romances are some of the few contemporary romances I enjoy: it's not usually my genre, but anything Alyssa Cole writes I will read. Shoutout to her expansion into horror, she's also one of the few authors who will get me to read THAT genre. Standouts include Can't Escape Love (novella), A Duke by Default, and Let It Shine (also a novella). Another author who I cannot stress enough: just go read her entire backlog okay. She's got historical romances in a range of time periods. She's got contemporary romances. She's got horror, god help me.

The other author who can convince me to read horror is T Kingfisher, aka Ursula Vernon. Her fairytale retellings are A+ and always contain horror elements, and she is another author who has yet to write a dud for me. Standouts include Nettle & Bone (NETTLE AND BOOOOOOOOONE), The Raven and the Reindeer, and The Seventh Bride.

Tamora Pierce is sort of a no-brainer here for me. Her books are not always perfect by any means, but they are always progressive for the time they are written and she continues to improve and take feedback into account. Plus you probably owe the existence of your favorite stabby ya lady to her. Tortall owns my heart because I read it first but she has a lovely magic school series in a different world where friendship is literally magic and social commentary the norm.

The Dragonriders of Pern is not for everyone. Much of the sexual politics in the early novels are, as I have discussed elsewhere, outdated, but the books evolved as Anne McCaffrey's understanding did, and there are soulmate dragons and impeccably rendered closed time loops (multiples! Happening at the same time!) and a constant discussion and tension of evolving social norms and the needs of society: at what point does technology become Too Much? Does it at all? What happens when the people in charge stop giving a shit about their responsibilities? Seriously the impeachment plot in Dragonseye/red star rising is nearly prescient. Most of these conflicts originate early on but don't truly come to fruition until later, and please take my word for it and simply don't read the books written by her son. They are bad.

The Witchlands series by Susan Dennard! Tbh I think this series deserves more love than it gets. It's not perfect, it can improve, but that's the thing: it routinely does. Dennard puts time and care into her work from all sides and discusses openly her early and middle mistakes, from a technical level to a 'needing a sensitivity reader' level.

Sarah Rees Brennan! Y'all know I love Sarah Rees Brennan, right? You should. She likes to explore tropes and genre convention and snappy, snappy dialogue. I haven't reread The Lynburn Legacy yet this year, but that's an anomaly. In Other Lands is pretty widely acknowledged as superior portal fantasy, I think. Tell The Wind and Fire was constrained by the book it was retelling and I think suffered for it, but that just means it wasn't as good as I personally think it could have been, not that it wasn't good at all. The Demon's Lexicon trilogy is her first series and yes, okay, it shows a little, but have you ever thought to yourself, hey. What if Supernatural was actually, like. Good. And wanted to actually explore in a thoughtful manner morality and what it means to be a person and nature vs nurture and how complicated your relationships with parents can be. Because if so, go give The Demon's Lexicon a shot.

The Rivers of London! We will excuse magic cops this once because they are specifically *magic* cops and because Nightingale literally fought nazis and Peter is pretty critical of the met in general. These books almost make me like London, and as a bonus Peter is fully aware that King Arthur was Welsh (look this is important to me okay)

Lockwood & Co! I am on the final book now and really enjoying my feral child soldier ghosthunters. I want to give them all soup. I want to wrap them all in blankets. My inexplicable attraction to the actor playing Kipps in the show is irrelevant to book enjoyment but I am still flabbergasted, by all accounts it doesn't make sense.

The Vorkosigan Saga by Lois McMaster Bujold is space opera. I love it. I admittedly love the Cordelia and Ekaterin novels most, but that is a matter of my eternal love for ladies who are generally nice but willing to fuck shit up, they're all good.

Artemis Fowl! Criminal mastermind child WHO JUST NEEDS FRIENDS OH MY GOD. I cried at the end of the third book. It's fine! We're all fine! Colfer does an excellent job of portraying the fairies as having a culture different from ours with real reasons that they haven't taken over the world, and if you don't love Holly you're wrong.

I have more but I'll stop here for now I guess. Whoops.

[caramel1mochi]

Beau Idéal [Chamber x F! Reader] [2]

Heya, welcome back!

I swear writing Chamber dialogue is SO HARD. He's like a greek sculpture in text form, he NEEDS to be perfect in every way shape and form! Also physical, but you know, haha...

Anyway, this one's a bit short, but I might be kinda having some problems irl and I'm trying my best to keep writing. If I suddenly stop posting or my writing starts to lack, now you know why! Sorry in advance!!

❤ฺ·。

Chamber x F! Reader

Part 1 - Part 2

Genre: Fluff, but only if you squint really hard.

CW: Emotional manipulation, mental warfare, Geneva convention? Who's she?

Synopsis: Behind his poise façade lies an ocean of inhuman thoughts. This is the first time Chamber let his mask slip. And unfortunately, as the only witness; you happen to have a front-row seat.

。+❤ฺ·。❤ฺ·。+❤ฺ· +❤·。❤ฺ·。+❤ฺ·

It only took a few minutes, and here you were, standing at the entrance to his office. Light peeked through underneath the metal door, but only barely. You felt dread perk up from within.

Knocking would flatten your knuckles, given how dry your soil was. You pressed your fingers against the sensor next to the door, your ‘fingerprints’ being scanned by the machine. Of course, it didn’t allow you entry, but it sent him a notification that someone was outside.

And just as quickly, the door slid open. The scent of his cologne entered your nostrils and easily outweighed the coffee.

“Come in.”

He spoke up, his voice deep and husky. It matched the heavy atmosphere around you. However, not letting this bother you, you simply walked in with your usual smile; coffee in hand.

“Hey, Chamber! Fade wanted me to deliver this to you.”

You found him sitting on his rolling chair. Legs crossed, arms resting on the flat drafting table littered with bright blue schematics, pens, pencils, erasers, and post-it notes. He held a book that he was halfway through. But instead of speaking, he resorted to silently tapped on a specific spot on his table, still reading.

Obeying, the coffee was set just a few inches away from his finger, before you took a few steps back. And still, he remained soundless, hardly even acknowledging you. 

With only a handful the lights turned on, the one that grew more prevalent was the one that sat on his desk. Its strong yellow rays that contrasted the dark setting left you uneasy. It morphed to dread when coupled with his behaviour.

All your time here, Chamber’s never acted this way. Quiet, and relying on gestures. It felt condescending, but then again, he was in the middle of reading something. Right? Or maybe you shouldn’t be giving him the benefit of the doubt.

Just as you thought that, the book slammed shut with a thump, before he set it on the table and turned to face you. Fingers interlaced with a smile, the familiar aura returned with the elegance and subtlety of a bus that ran you over.

“A/N, a pleasure to see you. How have you been?”

Even his tone switched to his usual upbeat one. You crossed your arms, weirded out by the sudden change.

“What’s going on? You’re acting weird.”

“Ah, pardonne-moi, I was in the middle of reading something. A good book takes me to a different land, I simply cannot help it.” <Ah, forgive me,>

“‘Takes you to a different land’? There’s no way a book can do that. Last time I read, it was like going back to school all over again.”

He politely chuckled, fixing his glasses. 

“Simple, perhaps you have not found the right author.” 

“Did you find the right author?”

“Of course. Konrad Lorenz is a lovely choice if you are interested in animals.”

You peered at his desk, noticing that he was indeed reading a book by whoever the hell that man was. But Chamber, the suave marksman reading about animals? You thought he was reading about guns, funnily enough.

“You like animals?”

“Oui, I find them helpful for– to unwind. After a long day… incredibly therapeutic, if I do say so myself.” <Yes,>

Chamber uses animals to unwind? He could’ve told you that he was the president of America and you would’ve been less shocked. But the idea of him scrolling through pictures of cute puppies at three in the morning was hilarious. You stared at him for a moment, before shrugging.

“I’m good, watching documentaries is more fun. You could see them instead of reading them, right? And what else?”

“Perhaps. Have you tried reading up on soil? That could be beneficial.”

You stifled a giggle in fear of coming off as rude.

“Having dirt powers doesn’t make me care about it. If I had a choice, it would def be something like Jett. Wind’s more awesome.”

“I see. My point still stands.”

“I’m good.”

He smiled. The lights above him bounced off of his golden tattoos once he slightly shifted, giving it a hypnotising shimmer.

“Is that so? By chance, I do know a little about it. You could use lighter weapons with less recoil so it does not break up your fingers. And perhaps make clay out of your arms and make it stick together. Ah, I digress. You seem disinterested.”

“Wait! Wait, uh–”

Just as he turned to his desk to grab his book, you stopped him in his tracks. Though he wasn't looking at you now, you could sense him waiting for you to continue.

Fade told you to give him the coffee and leave, but… the conversation was getting pretty interesting. He’s giving you free important tips, it would be moronic to pass them up. 

You awkwardly smiled, playing with your auburn side braid. 

“Now that I think about it, dirt suddenly sounds really interesting when you explain it… so, anything else?”

He deeply chuckled to himself.

Oh, that's cute.

[theladysunami]

@losttheoldone-hereweareagain

#While on the one hand as a writer I absolutely agree that I want my world building to encompass queerness in a way that fits the setting #It also feels extremely dismissive of the readers to say “my story's culture doesn't allow The Modern Gays!” #Because there's a lot of people who read as an escape and when living in a real world actively trying to kill trans people #To be able to pick up a book that has all the fiction tropes and setting and genre conventions that you've always loved #AND ALSO queer people are an accepted part of that without everyone questioning it? That's genuinely nice #I don't always need twenty pages of backstory to explain why it's that way when I can simply enjoy an acknowledgement of my existence #On the other hand as the above writers have stated there's ways to include queerness that ARE a better fit for whatever world you create #That aren't just copy pasted from the current form/understanding/vocabulary of queerness #And if that's what you prefer for your writing I'd highly suggest doing some research #Because queerness has always existed #although how it was perceived has varied WILDLY based on both culture and time period #But it has always been there and to pretend it hasn't or ignore it is just as much the Tiffany Effect as any other historical anachronism

All the cultural relativism going away in a person's worldbuilding once they get to sexuality & gender

[lady-shadow-and-darkness-da]

Why I think that turning a queer relationship straight and a straight relationship queer are not the same :

Before starting the comparison, I would first of all like to mention that both of these are born out of less than conventional desires and fantasies. Whether you make a straight relationship queer, or you make a queer relationship straight, I assume you like the dynamic, characters and backstories, but the very fact that it is heterosexual or homosexual repulses you/disinterests you, and therefore you convert it to a ship you actually enjoy.

Second of all, I would like to say that there is absolutely nothing wrong with that. This is a critical analysis not intended to hurt or upset anyone who writes things like this. This is my opinion and formed based on the media I have consumed, and I acknowledge that there are exceptions or that I might be objectively wrong. Freedom of writing applies to all.

With that being said,

Comparison :

1) Straight relationships to Queer relationships :

As mentioned earlier, these mostly seem to be born out of a lack of (good) queer ships that a queer person could enjoy in a fandom.

The difference itself however lies in the fact that, as far as I have seen personally, people who turn straight relationships queer almost always take special care to nurture characterization. Yes, they make changes which might better fit the gender change, but it almost always makes absolute sense. To put it simply, aside from a few fetishized pieces of content, these types always deliver on characterization and plot.

2) Queer relationships to straight relationships :

I'm aware that I mentioned earlier that they are essentially two sides of the same coin, but I urge you to consider the fact that there is already a lot of stigma and phobia surrounding queer relationships. I'm not saying this is the case each time, but I have certainly met authors like this who only change it to a straight relationship (when other straight relationships are available) because of their homophobia.

This in turn reflects in their writing. Even if they are not homophobic, the very concept of heteronormative standards being applied on a queer ship turned straight (with doesn't need to happen, by the way) is less than ideal and destroys fundamental aspects to a character's personality. Apply a set of criteria and turning the one they view as more masculine into a man, or the one they view as more feminine into a woman, affecting their core characterization and taking away nuance.

Again, this is about a specific genre of fics I have read and media I have consumed.

In conclusion,

These are the reasons I have so far to put forth an argument that they are not exactly the same. It is more of a devil's advocate argument than a solid, objective argument.

Thank you for coming to my Ted talk.

[eagles-translated]

Analyzing the writing of Eagles

Here's a post I've been wanting to make for a while! I've expressed my thoughts on some of the storylines in previous posts, but I've never done a complete post on the writing of the whole show. I've divided this post into separate parts, focusing on each season and its plot points. Keep reading to see my analysis of the writing in Eagles! 👇 Word Count: 18k

If you've stumbled upon this post from the Young Royals or the Beartown tag (tagged them since I've drawn some parallels from those shows), here's a brief summary of what Eagles is, which you can watch with English subtitles here. This post contains Eagles spoilers from 1x01 - 3x10.

Eagles is a Swedish TV show that revolves around a few teenagers living in the Swedish ice hockey town Oskarshamn while experiencing friendship, love, and rivalry on the ice.

To start this off I would like to say that I have no experience with professional screenwriting and if anything, this is just a way for me to procrastinate on actually writing my own projects.

I love experiencing new stories and when I discover one I really like it's just natural for me to branch off with "what ifs" and to start wondering how the story would've turned out if some things were changed. Sometimes it's with a storyline improvement in mind, and other times it's just out of plain curiosity.

You might feel like this post is leaning towards the critical side, and I can definitely understand why since there are a lot of small details that I've picked apart from all seasons. I added a section for each season with things that I thought were really well done so this post wouldn't be too negative.

I actually did enjoy all seasons and I feel like the quality of not just the writing but every single thing has steadily increased each year.

Season 1: Tropes and clichés

Eagles premiered its first season in 2019 and was, despite many negative reviews, a big success among its target audience. Every episode on SVT Play amassed around 700 000–800 000 views and there didn't seem to be any doubt that the show would get renewed.

What the critics had issues with were that "Eagles rarely takes the unexpected path, and feels like a slightly soulless product of studied target group thinking a little too often," (Karolina Fjellborg in Aftonbladet) and "In Eagles, the characters seem to be locked in the role of a "teenager" but the humanity is missing. They've simplified the construction of the character," (Django Lorentzson in MovieZine).

Eagles was unfortunate enough to constantly be compared to SKAM in its infancy, and that's a tough comparison to live up to. SVT sort of shot themselves in the foot as they were the ones who contributed to it. While the show was still in the casting process, SVT wrote an article hyping the show up as a Swedish SKAM (which has since been edited, but led many to falsely believe that it would involve all the familiar SKAM characters with some hockey elements sprinkled in).

So, why exactly did critics think the first three episodes of the show were predictable and soulless? Well, it's pretty simple. They'd seen it all before. The setting, the characters, the storylines—just in different TV shows and movies.

Season 1 for me is nostalgic and very enjoyable despite its clichéd nature. I also felt like I'd seen the show before due to its generic storylines, but there is a reason why tropes are tropes and why clichés are clichés. It's because they're tried and true, and actually somewhat good writing tools as long as you expand on them. The keyword here is to expand—a story doesn't magically become good simply because you mimic something another writer has done. Tropes are fine to use but you can't just apply them and stop there. Everything in a story needs to be developed in order to be good.

It's safe to say that it's pretty much impossible to write a story without any tropes that have been used before. Striving to avoid clichés at all costs in hopes of making your story as original as possible is harder than it sounds, and almost impossible to boot. Here's a great piece of advice for aspiring writers written by a user on Carvezine:

[...] if you look down at your story and are worried it’s already been told before – don’t spend another second thinking about it. It has. A million times. The only difference is that it hasn’t been told by you. Accept that regurgitation is part of writing, and just do your best not to regurgitate the same way as the guy next to you. We’d all do well to acknowledge there is at least a portion of our stories that are really someone else’s. [...] Beyond that, write with the motivation that if you don’t get around to telling your story, eventually somebody else will.

Even the greatest books have storylines with some clichés. And that's not really a bad thing, either. Think about it. How many times have you decided to binge a TV show solely because it reminded you of another series? Or picked up a book simply because you love a good enemies to lovers romance, a battle between good and evil fantasy, or whatever it might be?

I found this article from Masterclass that perfectly describes what tropes are and why they're used. It's written from the perspective of novel writing but it is still applicable.

A trope in literary terms is a plot device or character attribute that is used so commonly in the genre that it’s seen as commonplace or conventional. For example, a trope in superhero stories is a villain who wants to take over the world. Tropes are popular for a reason—if something has been written about over and over again, there’s a good chance that it’s something readers enjoy reading! Tropes can be helpful, but a novel made up only of tropes will quickly start to feel stale and predictable to readers. That’s why you need to read up on tropes—and then innovate. Deliberately taking a favorite trope and turning it on its head is a great way to put your own unique spin on the genre and keep your readers interested.

Eagles, in its first season, didn't really do a lot of expanding upon the tropes they used and it's understandable that they were still trying to find their footing. I can also imagine it's difficult to do so when you only have eight 20 minute episodes in the season.

However... There definitely should've been more work put into these characters to make them their own. It's tricky, yes, but still achievable if you don't abandon them in their cookie-cutter form and try to actually decorate them with something unique and fresh.

So, how did they write their characters?

Felicia's character and backstory

To start off, Felicia is a famous influencer known for starring in a reality show next to her former NHL professional father. There's already a clear disconnect because it's hard to relate to a character with such a public past and large following. But it is 100% possible if you let the viewer know the character has humane qualities just like the person watching the show.

Look at Wilhelm from Netflix's Young Royals, another Swedish TV show. Wilhelm is the prince of Sweden, set to attend a prestigious elite boarding school, and is the heir to the throne. That doesn't exactly sound like a relatable scenario, does it? And yet the writers make it work because when we're introduced to Wilhelm we realize he's just like everybody else. He wants a normal life, he latches on to his older brother for support, he has anxiety, and he struggles between following his heart versus doing what his family is expecting him to do. A lot of these factors are relatable among the audience.

So, let's look at Felicia Kroon. She is in many ways portrayed as the main character of the show. Eagles starts off with her family having moved to Oskarshamn and the following episodes focus on her developing relationship with Ludde as well as her traumatic past. There's almost too much focus on Felicia here, and I'll get back to that.

Comparing Felicia to Wilhelm from Young Royals, they're both well-known teenagers with famous parents. Of course they have different circumstances considering Felicia is Instagram popular and Wilhelm is a blood royal, but in the grand scheme of things they're similar. Felicia is even referred to as a "Kroon princess" because of her last name Kroon bearing a resemblance to the Swedish word kronprinsessa, meaning crown princess.

The students of their respective schools treat their attendance as a big deal when they first arrive and then Wilhelm and Felicia start spending time with the "popular" crowd despite not really fitting in there.

I personally found it easy to relate to Wilhelm but difficult to relate to Felicia. Some people may feel differently, but her character is basically a popular party girl who attracts the attention of one of the school's star players and is "welcomed" by the popular crowd on her first day of school. I put welcome in quotation marks because Klara, the leader of the girl group, isn't exactly the most welcoming person but she does welcome Felicia to the school. My point is, Felicia doesn't have a lot of relatable traits in the first episodes.

Felicia then goes on a date with the guy she's met, Ludde. Okay, so there haven't been that many layers to her character yet. We're at the third episode and so far she's been kind of flat.

Near the end of the third episode, we get some depth to the character and we hear her back story.

Felicia: [...] We don’t have a good relationship, my dad and I. And that’s probably why we moved from the beginning, because he’s an idiot. We’ve never been close, but… Elias and he have been since they’ve had hockey. [...] And mom has been really involved, so… And I… They’ve never really cared about me. And… And I haven’t really been a problem either. I’ve had good grades, good friends, and… I don’t know why I’m telling you this. I don’t talk about it to people. [...] I just felt so fucking lonely and invisible. I was worried all the time, couldn’t sleep, panicked because I couldn’t sleep… So I started going out more. It went overboard. It started affecting school, my grades slipped… I started taking things to be able to concentrate. Everybody does stuff like that. And then I still couldn’t sleep, so… I started mixing with sleeping pills. And there’s always wine and booze at our place. I don’t want this to come out, that’s really important. Ludde: Of course, I’d never tell. Felicia: One night, something happened that made me… Act out of control more than usual. I woke up the next morning in the hospital. So they sent me to rehab. It was really rough for mom and dad that I was suddenly in focus. When I woke up, dad wasn’t even there. Ludde: What made you take too much that night? Felicia: I’d forgotten my phone at home, so I ran up and got it while my friends were waiting in an Uber. Then I came into the hall and I heard noises. You know, like, when somebody is doing it. Ludde: Okay. Felicia: And I thought it was really weird because mom wasn’t home. So I went into the living room… Dad was fucking my mom’s best friend. On the rug below the couch.

This gives Felicia more layers and does separate her from every other "popular pretty party girl" trope that you see on TV. But this is a huge info dump, and that's a problem. I would've liked to see this happen on-screen instead of only being told what went down. The golden rule of Show don't tell, as people like to say.

Show, don’t tell is a writing technique in which story and characters are related through sensory details and actions rather than exposition. It fosters a style of writing that’s more immersive for the reader, allowing them to “be in the room” with the characters. In his most commonly repeated quote, Chekhov said, “Don’t tell me the moon is shining. Show me the glint of light on broken glass."

This back story could've been more impactful that way if, perhaps, the show began with Felicia in a hospital bed with a strong headache and hazy flashbacks of that night where she saw her dad sleeping with another woman. Then we're introduced to her mother and brother sitting next to the hospital bed tired and worried, and Felicia notices her dad isn't present. They tell her Felicia is being sent to rehab and then there's a time-jump before we see the Kroon family having moved to Oskarshamn.

That's just an idea I threw together at the top of my head, but you get my point. It would've been more interesting if we knew from the beginning that Felicia had a traumatic past like this, leading the viewer to want to know more about what actually happened.

We did get a brief flashback at the very beginning of the show—we see Felicia partying with her friends and taking some pill before lying unconscious on the ground. There's also a glimpse of Ludde's car accident with Andreas yelling at him to get out of there.

That segment only lasts for around 45 seconds and it's easily forgettable upon your first viewing of the show. It's also hard to even recognize Felicia in the dark nightclub setting with the flashing lights. Some dialogue in that short scene could've made it more memorable, because I found that when I first watched season 1 I remembered Andreas yelling at Ludde despite that being drowned out by the music.

Ludde's backstory was way more well-done, in my opinion. We see him having crashed the car and bleeding from his head. He looks terrified and almost frozen by fear, needing to be pulled out of the car by a panicked Andreas yelling at him to bring Ludde back to the reality of the situation. We see Andreas yelling and pointing, telling Ludde he needs to run now. It's more powerful when we get to see it.

And in episode 8, when we learn the truth of what happened, it's not a long and dragged-out monologue. It fits into what's going on in the story. Felicia and Ludde have known each other for a few months now and are much closer than they were on their first date. They've had disagreements and fights, but at this moment they're in a good place.

And it feels like the right moment for Ludde to come clean about what happened to him.

Ludde: Hey… There’s something I’ve been meaning to tell you. Felicia: What? Ludde: About… My brother. It’s not really as everybody thinks. Felicia: What do you mean? Ludde: That night when he crashed… It wasn’t Andreas who drove the car. We were on our way home from one of his buddies. We’d had some fun drinking. And then… I’d just started learning how to drive. So I nagged and nagged at him. Felicia: So you were the one driving? But he’s an adult- Ludde: He was drunk as hell. He was going to leave the car, but I thought it was so cold and it was only three blocks away so I thought that I could drive. Felicia: And what happened? Ludde: It was slippery and really dark… And a car came. I hit the brakes in time, but it… Yeah. Right after he pushed me out of the car and yelled that I should run home straight away. He really didn’t want me to get into trouble. So, yeah… It was fucking bad luck. I want to just gather everybody and scream that it was me. Felicia: Hey… I love you. Ludde: I love you too. I love you so fucking much.

As Ludde is telling Felicia what happened as the other car came, we see a silent flashback of it along with Ludde's voice narrating. We see Andreas pulling him out of the car and yelling. Cutting to this scene that we've already seen in the beginning but might've forgotten about is a smart choice and makes the story Ludde is telling more real. We see it unfolding as Ludde is telling this to Felicia. It's a powerful scene.

We then see Felicia hugging Ludde from behind, a sign of support with no words needed. She tells him she loves him and Ludde says it back. It's an honest and sweet moment that comes at a perfect time in the story. It's not too early like Felicia's backstory was.

I sort of understand why Felicia's backstory was info-dumped because it was right before the drama of Mats accidentally spilling the beans to Klara's family. They wanted the audience to know what happened to her early, so they could move on to the plot point of Felicia thinking Ludde was the one who told everybody.

But we don't need every single detail of Felicia's story. Let it come organically. The only thing that was really needed was for Ludde to know that Felicia had struggled with drug use and was sent to rehab for this storyline to work. The reason why could've been saved for later, and it would've made for a more interesting reveal. Maybe just have Felicia allude to seeing something that night, but don't tell the viewers right away what it was.

In 1x06, Felicia is incredibly upset when she hears that her dad was the one who told Klara's family what happened to Felicia in the US. And rightly so.

Felicia: Don’t you get it? You ruined everything! Mats: What? Felicia: You told the whole damn town about me! About the US! Mats: I really didn’t mean to disclose you- Or disclose us. Sorry. Hey, sorry. Flisan, please. Hey. Felicia: Did you tell them you fucked mom’s best friend too? Yes, I saw you.

If this had been the moment where we first find out what Felicia saw, it would've been more surprising. Our reaction would've mirrored Mats's, and it would've been more heart-wrenching to know that Felicia was traumatized by an affair her dad had only to be cheated on herself in the very same episode.

Ludde's problematic nature

One of the scriptwriters of Eagles, Fanny Ekstrand, was interviewed in the behind-the-scenes documentary Edvins Skådisdrömmar. In this interview, she states:

Ludvig, he's the one who's been the easiest to retain the personality of. Because he's so... He's calm and friendly, but he makes dumb decisions. Ludvig isn't a typical hockey guy. He has a bunch of other qualities—music being one of them.

I found myself slightly disagreeing with this take, despite knowing Ekstrand is literally a part of the writing team and most likely helped shaped Ludde's personality. I just interpreted Ludde's character (at least in season 1) differently.

I also didn't find him that much different from any other typical hockey guy just because he happens to have another interest. That's a bit like saying Archie Andrews from The CW's Riverdale isn't a stereotypical jock because he also plays the guitar.

In season 1, we see Ludde break into the rink because he wanted to test out the ice. He just loves hockey that much. He also uses it as a way to express frustration and anger, which we saw in 1x05. He flirts with the new girl in school and in the beginning he even uses it as a tactic to gain a position on the main hockey team. This was confirmed by the creator Stefan H. Lindén in his Q&A, where he said:

My idea has always been that Ludde was blown away by Felicia and that he really likes her but that they both initially interacted and met to go swimming because Felicia knew it would piss her dad off and Ludde knew that it might throw Elias off since they were competing for the same position in the team.

I would say that the characteristics of a typical hockey guy would be someone like Adam—obsessed with the sport, flirting with girls, going to parties, and just spending a lot of time in the rink. Ludde checks off all of these points. However, I will give this the benefit of the doubt since season 2 Ludde seems to change a lot and it's easier to interpret him as the calm and friendly guy he was supposed to be in season 1.

So to me, Ludde wasn't calm and friendly at all. In season 2, yes, but when we're first introduced to him?

Ludde shows anger issues and violent tendencies in 1x05 when he head-butts Elias and breaks his nose. It's violent and messy. He then yells at Felicia to leave when she's trying to communicate with him and belittles her drug problems solely because she's rich. To me, Ludde wasn't a nice person in 1x04 either when he let his friends make suggestive comments about Felicia and what she was like in bed.

Omar: I can tell you one thing - you’re not borrowing my towel today cause I don’t know where that dick has been. Adam: It’s nice when she sucks, right? Omar: Can’t you tell us some more, does she bite you or is it just really, really nice? [...] Adam: Is that what you sound like when you’re coming? What does she sound like?

This was described as "locker room talk" and the writers probably wanted to show an authentic view of what being a hockey player is like. I understand that. But it's a little problematic when it's later swept under the rug and treated like something that we're just supposed to accept.

Elias: [...] it’s not very fun to sit in a hockey locker room where people are talking about how nice it is to fuck my sister. Felicia: Ludde would never say anything like that, you know that. Elias: He wouldn’t? It’s a locker room, Felicia. That’s the only thing they talk about.

It did not sit right with me how Felicia seemed to be the one Elias blamed in this scene, and Ludde and his friends never faced any real consequences for what they said. Elias did lash out at Ludde, but there was no severe consequence for Omar and Adam's comments.

Compare this scenario to another Swedish show, Beartown on HBO. Beartown is similar to Eagles and focuses on a hockey team in a small town with one of the star players hooking up with a girl who's recently moved to their small town.

This girl is raped by the hockey player. And because of his status as the star of the team, he has almost the whole school behind him. The girl however is labeled as a lying slut. It's unfair and frustrating to see it happen, but it's authentic and done in a way that doesn't glamorize the ugly side of hockey culture.

Eagles is not as dark as Beartown so this comparison might be a little unfair. Beartown's whole storyline did revolve around this incident while in Eagles the hockey culture is treated more as a side thought. It's like they decided to throw in a taste of what goes on in a locker room just to create drama without really addressing it further.

Beartown did a much better job of portraying the problematic and toxic elements of hockey culture without making it seem like it's just something normal that we should accept. It was honest and raw. If you haven't seen the show, this short video does a great job of depicting how much thought was put into the toxic hockey culture, winning mentality, and subsequently hockey players thinking they're entitled to do whatever they want.

So, to respond to Ekstrand's quote from Edvins Skådisdrömmar—I did not experience Ludde as a "good guy" who only makes dumb decisions at all. In season 1, he's a bad person for letting his friends sexualize a girl he likes and letting her brother hear their disgusting comments. He's a bad person for fighting with her brother and later yelling at her, saying her drug issues are insignificant despite acting supportive of her only two episodes earlier.

I don't mind conflicts like these because they drive the story forward. I didn't particularly like Ludde in season 1 because of the reasons I just stated, but they're necessary to create drama and make the show interesting.

It's just weird to me how one of the writers is saying that Ludde is a calm person and a good guy when that is not at all how I interpreted his character.

Eagles is a show targeted towards a young audience, among them probably a lot of easily influenced pre-teens. What kind of message does this send to them when the guy letting his friends sexualize a girl he's slept with and on top of that laughing at their inappropriate comments is referred to as the good guy?

Klara is mean... What else?

From the moment we're introduced to Klara, it seems obvious that she'll play a living and breathing version of the infamous Alpha Bitch trope. She's also a prime example of the basic Popular is Evil trope and has her own Girl Posse consisting of Sara and Amie.

Klara feels threatened by the arrival of a potential new popular girl, Felicia, and does everything in her power to bully Felicia to show dominance. She barely shows any good sides of herself.

The only instance I can think of where we sort of see season 1 Klara in a positive light is when she talks to Amie in 1x05 about their friendship and then accompanies Amie to her audition for the school band.

Klara: Ever since Felicia started at school… It’s felt like you only hang out with her and that you’ve forgotten about me. She like took you from me. Amie: But I haven’t forgotten you. Klara: No, but do you get what I mean? Amie: I get it, but I haven’t forgotten you. Klara: No, I know. Amie: I know, but it just turned out that way when school started. Klara: Okay. Amie: But I’m sorry. Klara: It’s fine. Amie: Are you sure? Klara: Yeah. You can make it up to me when you go on your world tour.

Klara is really supportive of Amie's musical endeavors, but she also uses her support as a way to alienate Felicia from the girl group. It's very on the nose and kind of feels suffocating in the way it's written.

Klara: Amie, did you remove the clips? Amie: Yeah, she said they weren’t good. Klara: She’s just jealous. It’s so obvious. I mean, I’m jealous. You sing absolutely amazing. I don’t know, I just think it was really rude of her to sit in the cafeteria and criticize you like that Amie: Yeah, maybe. But she apologized. Klara: But still. That clip of you in the bathroom… Like… Sorry, but I’d be so mad if someone had posted something like that of me. I mean, you were standing there without makeup, completely non-fixed up. And the whole thing with her filming you without you knowing. That’s really weird. You don’t do that. Don’t you think so?

I'm sure there are plenty of people who act like this in real life. And maybe that's part of the problem, because Klara in season 1 really isn't an interesting character. We've met this person before and we know exactly what she's like. There's nothing new to discover. So season 1 is essentially just Klara being petty and rude every chance she gets, and to me it felt like a large part of her character was written just to stir up drama.

In 1x06, we see Klara backstab Amie by filming her making out with Ludde at her Halloween party. But I thought it was established in 1x05 that Klara feels like Amie was taken from her? And if Klara actually cared about Amie and didn't want to lose her as a friend, she wouldn't just stand by and watch with her phone recording the whole thing. It doesn't make a lot of sense.

Klara even made that whole point about how it was really weird of Felicia to film Amie without her knowing. So why would Klara do it, when she expressed that's weird and not something a normal person does? Is that supposed to be foreshadowing? Because if so, that's a clear contradiction and not how foreshadowing works.

When Sara happens to see the video on Klara's phone she immediately says that Klara should delete it.

Sara: What is that? Did they know you were filming? Klara: No, of course they didn’t know. Sara: Oh my god, Klara. You should probably delete it. Klara: I’m going to! But it’s crazy, right? Sara: Yeah, god. But seriously, delete it. Klara: I’m going to.

So Klara says she's going to delete the video. But it's still unclear why it was filmed in the first place if Klara insists that she's going to delete it. It's not like she filmed it just to show it to Sara either, since Sara wasn't meant to see it and only saw it by chance while swiping through Klara's photos on her phone.

It doesn't make sense for Klara to film a video like that of her best friend that she's supposed to care about. It doesn't make sense for Klara to film a video of anybody without their knowledge when she previously made a big deal about how you shouldn't do that.

What Klara's character is, is a bad attempt at the classical mean girl. She's clichéd, boring, and full of tropes.

Even her eventual character development is riddled with tropes like the Heel Realization where a character realizes they're actually one of the bad guys. This realization seems to come in 1x08, where Felicia calls Klara out on her behavior.

Felicia: You know what, Klara. I’m so fucking tired of your fucking comments. You didn’t get to be Lucia this year. Poor you! Was dad unable to fix that? Cry then, Klara. Cry. You’re so fucking mean. Everybody here is tired- Everybody here is scared of you. Even those who liked you once, they can’t take it anymore. Klara: That’s not true. It’s not true. Felicia: Yes, everybody is scared of you. You know what? Look around. Show people some fucking respect. Klara: Well say something, Amie! Amie: What is there to say? She’s right.

Klara needed a wake-up call like this. It's just unfortunate that she goes back to her mean girl behavior and posts the video after Amie insinuated that Klara wasn't a real friend. Klara already knew that Amie felt that way since she said Felicia was right in her assessment of everybody being scared and tired of Klara. So wouldn't it have made more sense for Klara to post the video right after that moment instead of during Amie's performance?

Or rather, why not pull a Subverted Trope and not have Klara post the video at all after she realized how horrible she'd been acting? That would've made me respect her so much more and be a great introduction to her character development in season 2.

The Halloween Incident

To me, the whole Halloween episode was questionable. First off, we never got actual confirmation of what happened in that room between Amie and Ludde. Some viewers insist that they only made out and others believe they went all the way. Here's what the creator of the show, Stefan H. Lindén, had to say about this in a Q&A post he did:

I think if you went into the writers room of Eagles and asked all of us what really happened in that room [between Ludde and Amie at Klara's Halloween party] we would all have different answers.  I know what happened, but I’m not sure we will ever truly know for sure, unless Ludvig or Amie eventually are open enough to admit to anyone what really happened.

This is kind of a vague answer, but that's fair considering that when Stefan did this Q&A the latest episode that had been released was 2x05 and he probably didn't want to spoil anything. However, looking back at this answer knowing how the season turned out I still feel like it's unclear what happened. It's also strange that Stefan seems to be saying that they never actually decided what happened between them since the writers "would all have different answers".

1x06 was just an odd episode for me overall. Lots of things felt rushed and underdeveloped. Let's not forget that this episode also contained, in my opinion, some of the weirdest lines in the whole show (along with Elias's strange monologue about plague vampires).

Ludde: Hey, I only have like 3%. Do you have any power? Adam: Are you wondering if I have a power bank in my shorts? It’s coming-

Ludde: I like shellfish. (said to Amie, wearing a lobster costume)

Up until this episode, Ludde has shown zero interest and attraction towards Amie. We are basically told that Ludde only hooked up with Amie because he was so drunk that he practically had no idea what he was doing.

In 1x02, we see a drunk Amie try to kiss Tobbe and upon getting rejected she moves on to make out with Adam. She gets overly friendly when she's drunk so the fact that she makes out with Ludde later is... Weird, but not entirely out of the realms of possibility.

Ludde on the other hand is moping about Felicia all night. He regrets how he yelled at her at the end of 1x05 and it shows. He's trying to drown all his problems in alcohol and it seems to be working, because when it enters his system he seems to be on top of the world.

What I found kind of ambiguous in this incident was if Ludde even remembered what happened that night. He was drinking so much compared to Amie, who doesn't really need as much alcohol before she reaches her "overly friendly" state. I thought for sure that Ludde was oblivious to the situation when he woke up in his bed the next day and immediately messaged Felicia.

There are just so many questions to unpack here that were never answered. What prompted Amie and Ludde to go into that empty room? Why did Ludde come with her? Why didn't Adam seem to care about this, when he'd been sitting next to Ludde and taking care of him most of the night? And as I wrote before, why would Klara film this video of her best friend when she previously expressed that was a weird thing to do?

There's just too much in 1x06 left unanswered. The Amie/Ludde hook-up was a badly executed plot twist because there wasn't anything hinting that this would happen. It just came out of nowhere.

Unbalanced screentime and Elias's wasted potential

A large portion of season 1 was dedicated to Felicia. This was kind of a let-down for me since I thought more focus would be placed on Eagles as a hockey team (after all, that's what the show is named after). I also thought more attention would be on Elias since he's the talented star player who's supposed to live up to his father's legacy.

The show starts with a couple radio hosts hyping up how Elias Kroon, son of the legendary Mats Kroon, is going to join the Eagles hockey team.

Host #1: [...] It’s finally official. New center in the junior team - Elias Kroon, son to the legendary NHL-pro Mats Kroon, who has now chosen to move home from the US to his hometown where Elias will play in his father’s old club Oskarshamn Eagles. Host #2: This is so freaking cool. Who doesn’t want a Kroon on their team? Host #1: We hope that he’ll take a spot on the A-team.

But we don't learn a lot about who Elias actually is in the first episode. The attention is on Felicia and her interest in Ludde.

Elias is so discarded that he barely has anything to say in the first couple of scenes we see him in. Here are all his eight lines in 1x01, and I'm not even joking.

Elias: Yes. Elias: Shut up. Elias: Ow. Elias: It's fine. Elias: Really? Elias: Fucking hell. Elias: I'll stay here. Elias: No, it's fine.

In 1x02 he has even fewer lines. Three, to be exact, and all he says is that his injury is a sprain and that it's fine. Essentially just an echo of two of the lines he had in the previous episode. It's nothing new.

There's a way to have a character stand out when they don't have many lines, but Elias just fades into the background with every other extra. There's too much time spent on having other characters talk about Elias than us actually getting to know him. So when we do meet him, it's pretty underwhelming.

Compare Elias to his sister who gets so much more attention from the writers. I don't really understand why either, since I thought Elias was a much more interesting character than his influencer sister. Felicia's character only seems to revolve around a guy. I wonder how many times we've seen that before?

In 1x02 we see the Eagles hockey team play their first game, but Elias is unable to play and has to sit in the stands for what was supposed to be his debut match. Why? Because during a hockey practice session in 1x01, Adam rams his stick into Elias to purposely injure him. I mean, fair enough. Adam is trying to get Ludde on the main team since he and Elias are competing for the same position. The shot of Adam smiling after Elias sprains his wrist is a bit too on the nose, but whatever.

What this does is minimize Elias' presence in season 1 by a lot. We don't see the son of the legendary NHL professional play an actual game until 1x05, which is more than halfway into the season. It's kind of disappointing but I understand the injury is done to dramatize his situation.

Elias barely gets his own storylines in the first few episodes. He just has things done to him instead of acting on his own. When we do see him on screen he gets injured by Adam, reprimanded by his father, and later told he can't play in his debut game.

His sweet side (or any side of him, really) isn't shown until 1x03 when Amie wakes up at the Kroon house and Elias reassures her that they didn't do anything together and that she can borrow Felicia's clothes.

Elias doesn't really do much for the plot until he hears Ludde's friends objectify Felicia and he starts a fight with Ludde and confronts Felicia about it. That's when it feels like Elias is actually a part of this show instead of just being an extra shoved into the background. His actions are finally affecting the plot.

Elias's potential in season 1 was hugely wasted. The only episode where we actually got to see him shine was 1x07, when he travels to Karlskrona with Amie. We find out he doesn't want the hockey arrangement his dad has planned for him and that he's actually a pretty goofy guy who likes making jokes (and eating green candy).

If less time was spent with Felicia and the distribution of every episode's 20 minutes was more balanced, season 1 could've been massively improved. It got much better in season 2, but season 1 suffered and made many people think that Felicia was a basic and unentertaining character.

The side characters and their comic relief

So one thing that I found really disappointing with Felicia's amount of screentime is that we barely got enough time for the other main characters, let alone the side characters.

What I mean here is that the only people we really know on the Eagles hockey team are Ludde and Elias. Ludde's friends, Adam and Omar, just feel like comic relief sidekicks. We don't really know what they're like, besides the fact that they like to make jokes and mess around.

This issue is largely created by the short running time the episodes have along with season 1 only having eight episodes in total. That's definitely understandable. It did get better in season 3 where we see Ludde having a deeper conversation with Adam and Omar and they finally don't just feel like the comic relief characters, but actual people with layers.

Ludde: I’m going to quit hockey. Adam: Are you serious? Omar: What the hell are you saying? Ludde: It’s not the same anymore. I’m not passionate about it. I… Yes, it sucks, but… I’ve thought about it for a while now. Omar: We make jokes about it and all, but… Yeah. It wouldn’t be the same without you. Kingelikingen. Adam: I get that it’s a tough choice. But yeah… You’ll work things out. You and Felicia. You always do. Ludde: You guys are pretty awesome sometimes, actually.

This scene was really sweet, and I wish we could've had moments like this between the guys in season 1. Just one scene to show that they're not just the "typical hockey guys". It feels like Ludde was the only person on the team in season 1 who wasn't just a background character. Even Elias, who you would assume should be at the forefront, isn't properly developed until 1x05 where we see him defending his sister and starting a fight with Ludde. Otherwise, it very much felt like Elias was kept in the background.

There are also guys on the team called Herman, Simon, Näslund, Ekbäck, Hoffmann, Berglund (even Montell, which was a fun nod to the show's director)... But who are they, actually? Do you even remember their names? To be honest with you, I don't. Because they're just names—not actual characters.

None of the other guys on the team get any depth. They're just sort of there as extras and to give the audience a sense of comedy with their "hockey team shenanigans". This was illustrated in 1x08, where Adam and Omar make their teammate Liam do a "sexy dance" on a table because he lost his virginity. Or a more extreme example—Jönsson, who only exists to be the comic relief and the unlucky guy who just can't catch a break.

In 2x04, Jönsson is told by Jack to do extra time in the gym and gets told off when he only spends a few minutes on the exercise bike. Later, Jack also makes a joke about how he should get Jönsson a defibrillator. In 2x09 Jönsson invites Ludde, Adam, and Omar to come to his mom's place to hang out. After he's left, Adam makes a comment about how there's no way he's going to "rot" in Jönsson's apartment that doesn't even have a balcony.

Don't get me wrong, these scenes aren't bad and I don't mean they should've been scrapped. Comedy can absolutely have its place in a show like this. Let's take the scene where Ludde flashes a couple of unfortunate old ladies on his first date with Felicia as an example. It feels like something a teenage boy would do to try to make a girl he likes laugh. It's a brief scene and it's nice to see Ludde being able to goof off only moments after talking about Andreas. We know that's a touchy subject for him.

However, it feels slightly overdone sometimes with how almost everybody on the hockey team is only there for comedic purposes and to fill space. It's more refreshing when they're shown to be multi-dimensional. I wish this is something that the writers would've considered when the show is literally titled after the hockey team, yet most of the hockey players are hardly in the story.

To add to this, it felt like Sara and Tobbe completely disappeared from the story in season 2. With Sara we understand that she probably didn't want to hang out with Klara anymore after knowing she filmed the Halloween video and posted it on Instagram, so that's fair. But it would've been nice to see Tobbe stick around in season 2, and I'll get back to why I think that.

The potential of season 1

When I look back on season 1 I feel really nostalgic. No matter how many small details that irked me, I can't deny that the setting of the show is beautiful and I really appreciate the depiction of it. Instead of showing Oskarshamn as a boring small town, we're shown the beauty of it which is incorporated into the storylines.

Some examples would be Ludde and Felicia's first date at Gunnarsö and walk through Havslätt, the gorgeous view of the Oskarshamn harbor from Klara's house Villa Högklint, and Badholmen where the school band performs and we later see Elias and Amie walking by in season 3. All these places are listed on the Eagles Oskarshamn site and I feel like they did a great job tying the storylines in with the locations.

Another aspect of season 1 and its writing that I really enjoyed was Elias and Amie's budding relationship. They just have a natural chemistry together and the dialogue between them also felt authentic and sweet.

Season 1 is just a very polished teen drama overall compared to some of SVT's previous series.

Back in 2007-2010, SVT used to air a soap opera-style show focusing on a few teenagers living in Gothenburg that was called Andra Avenyn (translation: Second Avenue). I was only seven at the time but I watched this show religiously as it aired three times a week. Just mentioning the show brings a lot of nostalgia.

Andra Avenyn amassed around 500 000 viewers per episode and was, just like Eagles, nominated for a Kristallen television award. But how good was it, really? If I take off my rose-colored glasses for a second and actually consider the show's highly dramatized storylines and unlikely scenarios, it had a tendency to drag on (which usually happens with soap operas). It didn't offer a realistic view of teenage life and on IMDb it currently sits at a rating score of 5.6 stars out of 10.

Comparing this old teen series to SVT's newer one, Eagles season 1 was a huge improvement and continues to be the most popular teen series that SVT has aired so far.

This idea and all the characters have lived in Stefan H. Lindéns mind since 2008, while Andra Avenyn was still on the air. It's actually amazing how high the quality of most TV shows has risen since then. Eagles has a rating score of 7.4 out of 10 stars on IMDb and has become internationally known in a way that Andra Avenyn never was.

Eagles season 1 laid the groundwork for SVT's most successful teen series of all time, and that's a huge achievement.

Season 2: "Subverting expectations"

When Eagles came back for season 2, the script made it kind of obvious that the writers had listened to the critique of season 1 being predictable.

I did find season 2 a huge step up from season 1—the directing was so much better and when it came to the script we got a deeper look into all the characters that they hadn't really scratched the surface of in the first season. My main disappointment however was that it felt like they threw in a bunch of weird plot twists just for the sake of "subverting expectations".

The core idea of subverting expectations can be great if done correctly. You lead the audience to believe they know what's going to happen, but then you surprise them with an unexpected and clever twist.

A post in Cinematography written by Mason Leaver defines the phrase of "subverting expectations" as:

[...] a method of surprising the audience with some element of a story, be it the plot, themes, characters, etc. This goes beyond a “twist” in a film. Expectation subversion actively works within the genre of a story, and attempts to reinterpret or subvert the conventions of that genre, breaking patterns in surprising and interesting ways. However, this method of surprising the audience is not always well received- it can sometimes be the source of heavy criticism from fans of the tropes which have been subverted.

This included "unexpected" relationships such as Elias/Klara and Amie/Ludde. The former actually worked, but the latter? Not so much.

Amie's crush on Ludde—make it make sense!

Amie and Ludde were my biggest issue with season 2, and it felt so out of character of Amie to be head over heels for Ludde. They work great as friends but romantically they're a huge mismatch.

But they have music in common, I hear you say. Yes, they do. But having a shared interest doesn't mean people are automatically a good match. You have to consider their chemistry and overall compatibility.

Before actors are cast in a show or movie where their characters will be romantically involved with each other, it's common to do what's called a chemistry read. Here's a neat description from an article in Backstage written by Caroline Liem:

Chemistry is the complex emotional or psychological interaction between two people. If this were a romantic article, it would be about love. Instead, we are discussing the astonishing rapport between two actors, and how that connection is achieved in order to book [...] the role. A chemistry read is an opportunity to read with actors being considered for a role opposite yours, usually lead roles. The main purpose is to see how you instinctively connect and work with the other actor.

This obviously wasn't done for the actors playing Amie and Ludde, since there didn't seem to be any intention of having their characters be involved in a romantic relationship.

That was even confirmed by Stefan H. Lindén in his Q&A of season 2, where he said that a love triangle between Ludde/Felicia/Amie was planned but later scrapped.

I can confirm that from the beginning of development of the series and the first version of the storyline a triangle drama was at some point intended for season 1 but later removed  – however when creating the characters, Ludvigs skill in music and arts was always there from the beginning so by knowing that, we always knew that interactions would appear between them. When looking back at Season 1, in the first scene by the lockers when Amie tells Felicia who Ludvig is, she does know exactly who he is and she is well aware of that his friend Tobias is a music guy that Amie wants to get to know. Also when looking at it, when I was the same age as Ludvig and Amie I, and I am sure a lot of people can relate to it, fact is that we never really knew if it was love or friendship in the beginning.

Knowing that the triangle drama was scrapped for season 1, it makes sense why it seems so arbitrary. There was no groundwork laid down for this pairing before it was hastily thrown together in 1x06 for a cheap plot twist. This continues in season 2, where Amie and Ludde start spending more time together. Yet it's hard to see Ludde as a potential love interest for Amie in the way the writers want us to. They still come off as friends despite having hooked up at a party.

I mentioned that Tobbe should've stuck around for season 2 and here's why. Tobbe was written to be the leader of the school band that Amie later joins, and he was friends with Ludde before the video was posted. He would've been a perfect fit for the Amie/Ludde music storyline but he's completely absent. He had the potential to be the person who could've helped them with the song a little and then later picked up on whatever there was going on between them.

I think the Amie/Ludde storyline could've hugely benefitted from a scene between Amie and Tobbe, where Tobbe asks if she actually has feelings for Ludde and we get to hear exactly what Amie is feeling. Maybe she's torn, not wanting to get together with Ludde because of how much they hurt Felicia, but at the same time finds it hard to suppress her feelings. A scene like that would've allowed us to get into Amie's head and make the Amie/Ludde storyline much clearer.

To add, this storyline was in desperate need of more interest from Ludde's side. There needed to be some indication from him that would make Amie believe he liked him back, even if that wasn't the case. All we get is Ludde complimenting Amie's song and then a hug in 2x05 when Amie says the record label in Stockholm wanted a meeting. And apparently, that was enough for Amie to think Ludde was interested in her despite him blowing off the Stockholm meeting and Amie hearing Ludde say that the Halloween incident was a mistake.

Ludde and Amie don't really mesh as well as Elias/Amie do or even as well as Ludde/Felicia do. Elias and Amie had sparks flying from the very first scene they shared. That pairing is one of the main reasons why the show became popular internationally, and why is that? Because of the actors' chemistry.

Amie and Ludde are a clumsy attempt at throwing together two people who don't really work together with the intention of "subverting expectations". And I suppose that's what the writers wanted to depict—an awkward crush that doesn't really make sense, which I'm sure many people have experienced as a teenager. That part is fine. But what I didn't like about this storyline is that Amie had no good reason to believe Ludde would be interested in anything with her beyond a platonic friendship.

While season 2 was airing, I was convinced that Amie wasn't actually in love with Ludde. She was just lonely after the aftermath of the Halloween video and mistook her feelings for Ludde as love when she just appreciated his company. Here's what I wrote:

So as we know, Amie kissed Ludde in episode 6 when he was in the hospital after having been injured during the hockey game against Karlskrona. She immediately seemed to regret having done that and ran out without an explanation, leaving Ludde alone and confused. I honestly don’t think Amie has any romantic feelings towards Ludde. I think she might mistake her feelings for a crush or something, when in reality she’s just lonely and appreciates Ludde always being there for her and giving her compliments on her musical ability. Ludde was complimenting Amie at the hospital, saying she was amazing, and I think Amie was just really touched by that and maybe wanted to thank him somehow, and ended up kissing him. And then she freaked out and left because oh my god did she really just kiss Ludde. It was an uncomfortable and awkward situation and that’s probably why she ran out. However, I really believe that if she had just stayed to explain and apologize, Ludde would understand and they could’ve just laughed it off. But this is a drama show so of course that wouldn’t happen! Do I think the writers are making them into a couple? No, definitely not. They know that season 1 was sort of predictable and cliché, so they’re making season 2 as different as possible by including these unexpected pairings such as Klara & Elias and Amie & Ludde. But Amie and Ludde won’t ever be a couple, because Ludde is still very much hung up on Felicia. I don’t see them as a couple either - yes, they have music in common, but they work way better as friends than in a relationship.

In Edvins Skådisdrömmar, which is a behind-the-scenes documentary of Eagles season 2, writers Fanny Ekstrand and Michaela Hamilton discuss the writing of the show in the documentary's third episode. The third episode is mostly focused on the lead-up to the scene where Amie kisses Ludde at the hospital. Adrian Öjvindsson, who plays Ludde, says:

Filming the kissing scene was [...] awkward and weird, actually. And that's how it ended up. Yandeh and I haven't really had any intimate scenes. In this case you could take in that it was weird, because that's also what the scene wanted to depict.

When Edvin reads the script, he describes the scene as a "nightmare" scenario. I agree. And the lazy build-up to this Awkward Kiss trope doesn't make it any better, because just like the Halloween incident this doesn't make a lot of sense.

It's supposed to be awkward and weird, just like Adrian said. But he also mentioned one of the most important details: Yandeh and I haven't really had any intimate scenes.

Before this kiss scene, there was nothing that indicated any chemistry between them. No accidental hand-touching, no longing stares, no nothing. Just a friendly hug. A proper build-up to the kiss scene would've made it feel less out of place.

The love confession from Amie to Ludde in 2x10 really threw me off as well. The confession to me made no sense and honestly felt like a prank call. There was no feeling behind it and zero reason for Amie to believe that there was a chance Ludde liked her back.

At the end of 2x08, Felicia goes to Ludde's house after he's confessed the truth to the police about the Andreas situation. Amie happens to overhear the conversation and she hears Ludde very clearly say that he's not interested in Amie.

Ludde: Felicia, there’s nothing between us. Between me and Amie. It was really the biggest mistake of my life. Felicia: Goodbye, Ludde. Ludde: Felicia, please!

Amie, now having her heart broken, crosses Ludde's name off the contract while crying. She knows he doesn't feel the same. So why would Amie even bother to call Ludde up to tell him she's "in love with him"?

Amie: [...] Hey, Ludde… Ludde: Yeah? Amie: It feels really weird to hear our song now. Because I know who the lyrics are about. And… And I… I really like you. Or, well… I’m in love with you. I just need to know how you feel. Or if you feel anything. Just tell me. Ludde: I’ll always want to be your friend, Amie, but… It’s Felicia I’m in love with.

This moment is on par with the awkwardness from the hospital kiss between them in 2x06. The second-hand embarrassment with this one was really rough, and what I don't understand is why this was even added to the script when Amie had already gotten the confirmation that Ludde didn't think of her in a romantic way. This storyline could've ended in 2x08 after Amie overheard the conversation between Ludde and Felicia.

It really didn't need to drag on for the whole season, essentially making Amie's whole storyline in season 2 about a guy. Her moment of finally getting signed to the record label was ruined when it could've been regarded as a fresh start if the storyline had just ended where it should have.

What this storyline did instead was ruining my favorite friendship of season 1, which was Amie/Felicia. This mess made it so hard for them to reconcile and they didn't end up properly addressing it until 3x09, spending almost two whole seasons mad at each other. It sucks that the writers decided to drag out their fighting and disagreements for this long when they could've instead shown two girls in solidarity who don't let a guy get between them and their friendship.

Amie apologized in 3x03 for how she hurt Felicia, but Felicia made it clear in 3x06 that she still harbored ill will towards Amie for what happened at Halloween (which in the timeline of this show was more than a year ago).

Felicia (to Amie): Are you going to start slobbering with [Elias] now too? Just give me back that sweater first, I don’t want slobber on that. Thanks.

I talked about how much I disliked the Amie/Ludde storyline in this post, with my main reason being that it really messed up the character dynamics that were established in season 1.

This storyline [of Ludde and Amie hooking up]—along with Amie falling in love with Ludde—is by far my least favorite one because it messed up the whole character dynamic. I feel like Amie and Felicia won’t ever go back to the kind of friendship they had in season 1 before the Halloween incident because the trust was so broken, and Amie really should’ve tried harder to apologize to Felicia like Ludde did instead of going after her best friend’s ex in season 2.

If there's just one thing I could change about this show, I would 100% get rid of the Amie/Ludde storylines. There is nothing that annoyed me as much as those storylines did.

Amie's musical ambitions

I've talked about this a bit before in another post because this was something that really bugged me about Amie's character in season 2. Here's what I wrote:

I honestly still feel like Amie’s whole storyline with sending in a rather basic demo written by two teenagers with little to no experience and then getting praised on it [by the Stockholm music producers] with comments such as “it’s going to be a real summer hit” felt so unrealistic to me. Maybe they only said that so Amie would accept their offer or something, but that’s still very strange because she would have still said yes without a doubt. I can understand that they thought Amie was marketable as a person and there was this bonus with her having gone viral before on Felicia’s Instagram, but that demo did not seem good enough for me to be immediately released as a single and then have them decide on the spot that Amie would be given a contract. I mean, come on. It never felt earned because we never really saw Amie struggling with her songwriting journey to achieve this dream. Sending in one demo to one record label and having them immediately want to make a whole album with you just doesn’t happen in real life unless the song is extremely good or you have a very unique voice. Amie is really talented but there are hundreds of people just like her, if not thousands. I was never convinced by her getting signed so quickly in season 2. I understand that they wanted to establish her as a successful artist [at the beginning of season 3], but that felt so rushed. I was so sure that the record label would screw her over and steal the song rights to record it with another artist who was already established, and that we’d have to see Amie work even harder to achieve her dreams. But we didn’t get that at all. Where was the struggle? [...] Of course I wanted to see Amie achieve success (and I was happy when she did), but the journey there was so bizarrely easy. She didn’t start to seriously work on making her music career become a reality until season 2. Amie had dabbled in music prior to that, like when she auditioned for the school band and did that performance of Follow, but she didn’t truly start to work towards it until season 2 when she decided to have her work sent to professionals in the business. And then, just five episodes later, she gets contacted by the record label in Stockholm. To put this into context—season 2 took place somewhere around March, and episode 5 around three weeks into April. So when Ludde first started helping Amie it took less than two months for her to get signed. You could argue that the song was just that good or that Amie is just that talented, but it never felt like a realistic storyline to me.

It's tricky to write a storyline like this when you only have ten 20 minute episodes in the season and a limited amount of screentime for every character. All that is understandable. But it's strange that they didn't opt for a time jump to really sell this storyline and make it believable.

Eagles uses time jumps a lot, but somehow this particular plot point was omitted from that and kind of glossed over. I don't really understand how they expected us to buy this storyline. The viewers aren't stupid, and more effort should've been put into this storyline.

In the post where I wrote this, @gajana18 also had an interesting thing to add:

[...] it's equally unrealistic that this huge record company would be hounding Amie, a teenage onehit wonder essentially to come back to the label- don’t they have other bigger artists?

This is a very strong point. Considering how Amie kept expressing that she wanted to finish school and then proceeded to ignore their calls, it's weird that they didn't just decide to discard her contract when Amie clearly wasn't taking her singing career as seriously as they wanted her to.

So, back to season 2. Maybe they could've gone with the record label stealing the rights to Amie's first song and screwing her over. This fuels her to try again and after a time jump of a few months we see Amie having worked really hard on a new and better song. Maybe even a whole album. And this time, she's learned from her past mistakes and improved her songwriting. This time, she's successful in her endeavor and it feels so much more earned after knowing the struggles she's been through to get there.

I also feel like a storyline like that would've made people sympathize with Amie more in season 2. It was really hard to root for her when she had nearly screwed Ludde over by not giving credit to his songwriting and saying "fuck him" when he didn't return Amie's feelings.

Klara's character development

When we're introduced to Klara in season 1, she's a stereotypical mean girl with wealthy parents who is the popular girl at school and has her own followers.

In season 2, the writers decided to develop the character. We find out Klara has issues at home and her mom is barely there. When she is, her parents will start fighting. Klara is feeling really lonely and doesn't really hang out with her friend Sara as much as she used to.

I appreciated the added depth, but it seemed like a drastic shift. The changed perspective could attribute to that but when you step back and really look at s1 Klara and s2 Klara, they're like two completely different people.

Maybe Klara's reputation suffered after she posted the Halloween video? Maybe she had a change of heart after Felicia finally confronted her during Lucia? I mean, I guess.

But what most fans (including me) didn't like about Klara in season 2 was that there were no clear consequences for her after she posted the Halloween video. Klara still hangs out with what seems to be the popular crowd and she has people to go out with. In a post I wrote last year about my thoughts on season 2, I wrote this:

I actually wish that Klara would’ve become more ostracized from her school friends to emphasize how alone she is, but she seems to still be pretty popular so that was kind of disappointing. I thought the fall-out of her posting the video would be worse, but I guess not. Anyway, I like that they’re taking a disliked character and making her into a better person. Feels like it’s been done a few times before, but I still appreciate them doing it. I hated s1 Klara for being so one-dimensional, but s2 Klara is well on her way to being a pretty good and nuanced character.

Her character development sort of comes a little out of nowhere, though. Her reputation wasn't ruined by posting that video and she didn't really lose any friends besides Sara (she had already lost Amie prior to posting that video considering what Amie said to her after Lucia in 1x08).

So what prompted Klara to become this whole new person who actually considers other people's feelings in a relatively short amount of time? Here's a conversation between Felicia and Klara in 2x07.

Felicia: Was there anything in particular you wanted to talk about? I understand that we’re not best friends just because you and Elias are together. We’re not here without a reason, right? Klara: No, I get that this feels weird for you. And if you don’t trust me after everything that’s happened - or that I’ve done. Felicia: Klara… Klara: I know that I haven’t acted like the world’s best person. And I regret that. Sorry.

But why does Klara regret her past behavior? What made her realize she hadn't acted like the "world's best person" if the ramifications from posting the Halloween video were so minimal?

Was it the relationship with Elias that made Klara change? No, I don't think so. When they first start talking at the bar in 2x03, Elias tells Klara that he doesn't always agree with Felicia and that he has his own viewpoints. In 2x07, he says Klara wasn't the one who messed up, but rather Amie and Ludde. And in 2x09, the script tells us that the Elias/Klara relationship seemed to bring more change to Elias rather than Klara.

Felicia: What did you do to him? Klara: What? Felicia: He’s smiling. Elias is like a whole new person since he met you. Klara: Stop. Felicia: I mean it!

So what made Klara change? In 1x08 she's mocking Felicia's drug problems and posts a video that will for sure ruin Amie's reputation. But at the start of season 2, she's suddenly become more withdrawn and considerate of people's feelings.

I can only name one factor that actually makes sense, and that's the fighting between her parents. Klara seems to turn into this quiet child when she has to listen to her mom and dad yelling at each other. This is something that didn't really begin until season 2, when Ola's company GECED started going under. This storyline was very well done.

But the other things, like Klara's reputation and friend group which you would assume would be affected, remain as they were in season 1.

Jack's sudden character change

Jack came into season 2 as a charming and charismatic character, seemingly fooling everybody into thinking he was a good guy. He knew the Kroon family from before and both Felicia and Elias were none the wiser when it came to the eventual reveal of his true colors.

Here's what Stefan H. Lindén had to say about the Jack character in his season 2 Q&A:

Bringing Jack in was actually originally not my idea, it came from my writer colleagues after that they revised my storyline notes for Season 2, while I was still down in Oskarshamn shooting Season 1. We had always intended for a character to come in and raise the stakes but I never imagined it to be Jack. When we started to develop the character, we all started liking him so he was kept in the story. Like with any new character we never really know who they are and what [the] point of them for coming in is [...]

Personally, I feel like the point of Jack's character is pretty obvious. When he first comes to Oskarshamn he is very much the embodiment of the new love interest coming in to date the girl who has broken up with her previous lover, while the previous lover still loves her and does anything he can to get her back although she's dating someone new. Jack is the Romantic False Lead trope who later becomes an alpha-dog Jerkass.

What I found interesting about Jack compared to Klara (in season 1) is that Jack isn't just a bad guy. He's very clever with his manipulation tactics and can easily charm people with his good looks and charisma.

When Felicia accuses Jack of cheating in 2x07, he manages to spin the whole thing around and make Felicia apologize to him and say it was stupid of her to believe he would cheat on her. I talked about this in a post while the season still aired, before Jack's true colors were revealed. Here's what I wrote:

I still don’t know if Jack really is cheating on Felicia with Olivia (the girl that texted him) but I would say he is. Jack is incredibly confident and charming, which makes him able to easily lie and manipulate people. We know he’s not an entirely good person since he’s already lied to Elias about not knowing that Mats would bring him back to Eagles. I wouldn’t be surprised if he really did hook up with Olivia and ended up being a really good liar. The fact is that not only did he deny it but he then shamed Felicia for blaming him and causing a scene, ultimately shifting the focus in the argument to her and making Felicia feel bad that she even confronted him in the first place. Jack says that maybe they shouldn’t even be together, which causes Felicia to backtrack and apologize. It’s actually pretty impressive how Jack was able to spin that around to blame Felicia and make her apologize.

Jack is able to take a small detail and use it as ammunition to get what he wants. In this situation, he brings up the girl in the Stockholm club that Felicia partied with and also kissed.

Jack: You shouldn’t accuse me, either. Felicia: What? Jack: I saw on Instagram, you and some girl in Stockholm. Have I whined about that? Coming here and blaming me for things, it feels really immature. Felicia: Fuck. Sorry, Jack.

Jack wasn't bothered by that at all. It happened before Felicia and Jack were even an official couple, and all they had done was hooking up at a party while Felicia was high. Jack, having cheated on Felicia, couldn't care less about the random girl Felicia kissed. That was just something he used to manipulate her.

When we discover that Jack is actually cheating on Felicia, he immediately reverts to a one-dimensional "evil" character. He's become the 2.0 version of Klara in season 1—written in just to stir up drama.

This "master manipulator" version of him just goes down the drain and Jack turns into a manchild who starts petty fights, files a police report because Ludde pushed him, and says to Felicia "I'm gonna tell on you!". Alright, maybe those weren't his exact words, but you know what I mean. It's a sudden shift and you start wondering how Jack was able to hide this version of himself so well before.

In 3x05, Jack sees Ludde and Andreas after a hockey game and fumbles trying to find any insult he can to hurl at Ludde. Everything he says from that point on is just line after line to really solidify that Jack is the bad guy. You didn't forget that, right? Here, let's have Jack call Felicia a druggie so you know just how shitty he is. And have him call Andreas a junkie later for good measure—there, that should be enough for people to understand that Jack is the villain here.

Jack: Johansson! Ludde: What the hell are you doing here? Jack: What does it look like? Ludde: I guess it’s you I should thank for the victory. Nice work. Jack: What is Felicia doing these days, then? Does she miss me? Ludde: Hey, you’re shutting up now, do you get it?! Jack: Jesus Christ. Do you think you can save her? What do you think she even sees in you? You two play in different leagues, Ludde. Ludde: You have no idea what we’re like. Jack: Come on! You should leave her. While you can. She’ll just pull you down into the dirt with her. You’re no hero, Ludde. Isn’t she still doing drugs? Once a druggie, always a druggie, right?

Jack is a horrible person, but at least he was able to pretend to be a good guy in season 2. And that was actually really fascinating. I wish we could've seen more of Jack's manipulative side that he showed in season 2 instead of making everything coming out of his mouth be a half-assed attempt at insulting the other person. That's a pretty boring villain, in my opinion.

Jack's backstory of his father being an alcoholic and him starting to resent the whole Kroon family because they had everything growing up while he didn't is interesting. It would've also made more sense if his anger was only directed towards the Kroon family since they're the ones he grew up with. They're the ones he was after the whole time.

His anger towards them feels cheapened when Jack also starts insulting Andreas (who he's probably never met before) for no good reason. It's like Jack's human qualities are just gone and all that's left is this empty shell made to start fights. His backstory didn't really make anybody sympathize with him, either.

The improvements of season 2

What I liked about the writing in season 2 was that they explored new ideas and had some solid storylines (besides the mess that was Amie and Ludde). Elias and Klara actually worked pretty well as a couple, even if they were pretty much the 2.0 version of Felicia/Ludde as the "wealthy, popular pretty girl starts dating the star player on the sports team".

Felicia finally gets some more depth. The scene at the end of 2x02, where Felicia and Leila park their car near the harbor and just start crying, is so powerful.

2x05 is also one of my favorite episodes of the show, as well as the ending montage of the 2x10 season finale. In Gameday, we had a very touching scene between Felicia and Mats where they finally communicate. It's not the most understanding conversation but it's a start. It's an interesting contrast between their talk in 1x06 where Felicia revealed she saw Mats cheating on Leila versus the talk they're having now.

Another one of my favorite scenes is when Felicia and Ludde meet up at their bench in 2x10 after Ludde has called her up asking Felicia to come if there's any chance of them getting back together.

The dialogue is simple and to the point. There's no long-winded love confession for the sake of drama. It's a moment that the whole season has been building up for, and when we finally get there we realize that this is how love should be.

Easy and simple.

Ludde: You came back. Felicia: Yeah, I did. Ludde: Do you remember our first date here? Felicia: No. I’ve forgotten. Ludde: I was so freaking nervous. Felicia: Everything you said… Did you mean it? Because you hurt me, Ludvig. And I… I’ve really tried to hurt you back, but… It’s not possible. I can’t… Not love you. Do you think… Do you think it can be us again? Ludde: What do you think? Felicia: I don’t want anything else.

Ludde admitting how nervous he was on their first date is sweet and shows us how much they've been through. Felicia is struggling to find the words to say and she's acknowledging how hurt she was, but still can't seem to find it in her heart to hate Ludde. It's honest.

Another plotline that I think was a little underrated in season 2 is the GECED company going bankrupt and Ola, Klara's dad, is under investigation for financial crime. This isn't a storyline you would usually see in a teen series. It's much more serious. It also gave us a really touching and poignant scene in 2x08 between Ola and Klara sitting on the floor of his office, where Klara has to comfort her father who starts crying.

Ola: When you were little you used to sit like this. On the floor, while I was working. You had your own room, but you wanted to sit with me. “Help daddy work”. Mom’s doing the right thing by leaving for a while, don’t blame her for that. Klara: What, you can’t just leave because things get a little tough. Ola: Maybe you should get away for a while too. You know, I never wanted you two to… That you… Everything’s gone. Klara: It will be fine. It will be fine. Ola: Sorry. I’m sorry.

In 2x09, Klara is at a party when she notices a bunch of missed calls from her dad. She immediately senses something is wrong and rushes home to find her dad having attempted suicide. It's executed very well and I really liked the more serious tone they went for in season 2.

It set up season 3 perfectly, which continued with the darker themes but balanced them very well with the more light-hearted moments.

Season 3: Finding one's footing

Season 3 was a highly anticipated season. I thought the season 2 finale was masterfully done and it left me wanting more. When season 1 finished on its cliffhanger of the video leaking, the focus only seemed to be on that.

But with season 2 there's Felicia/Ludde getting back together and Ludde having been sued by Jack, Jack threatening that he would leak all of the Kroon's family secrets, Klara's dad passing away, Elias deciding to get on the train and go to the draft combine anyway, Amie having finally become a recording artist but being isolated and heartbroken... There's so much to unpack, and it's a lot more interesting than the ending of season 1.

Where's Jack?

Jack is supposed to be the main villain but he's gone for most of the season, failing to show up until 3x05. In the season 2 finale Jack makes a huge deal about how he's going to destroy Felicia's life. He's threatening her in a very violent and abusive way.

Jack: [...] I know a lot about you, Felicia. And your nice family. It’s enough for me to leak to one news site. I can destroy you. Do you get it? I’ll tell them everything. The drugs, the cheating, your abortion! Felicia: Shut up! Jack: Hey. Huh? Did you seriously think I wanted to be with you? The little Kroon princess, who has gotten everything for free her whole fucking life! You and Elias! Like spoiled brats! You don’t understand what it means to fight for something!

In 2x10, Jack decides to report Ludde for assault but he doesn't follow through on destroying this family that he hates. If there's anything Jack seems to despise above all, it should be the Kroon family, right? So why did he fight back with Ludde but not the Kroon family?

I expected Jack to leak all the Kroon secrets at the beginning of season 3, but Felicia seems strangely calm at the funeral which I'm assuming only takes place two weeks or so after Ola's passing in the season 2 finale.

Then, a whole year passes with no indication that Jack is ever going to leak anything. As season 3 was airing, I commented on how strange this felt in an ask I received:

One of my main questions about the time jump is the whole thing with Jack saying he was going to ruin Felicia’s and the Kroon family’s reputation in the press. It seemed like nothing really came of that? I’m pretty sure that detail hasn’t been abandoned entirely and that Jack will come back (we’ve already seen a glimpse of him in the third episode), but it feels strange that Jack threatened to leak all her secrets and then just never did. I got the impression that Jack was a person who, when having his pride wounded, would do pretty much anything to get back at the person who insulted him. And yet there’s no mention of where Jack has been during that time or what he’s been doing. I feel like I would be pretty paranoid about this if I was Felicia, but we don’t see this haunting her until episode 3 when she sees a flash of Jack before realizing it was just some random guy. It seems strange that Felicia was relatively at ease during the funeral (which I assume took place not long after Jack first threatened her) and after the time jump. We don’t really know what’s been going on during that year, but Felicia seems to be fine and like she hasn’t had any thoughts of Jack at all. Maybe she assumed that his threats were empty and that he wouldn’t actually leak anything to the press, which is reasonable but at the same time I don’t understand why Jack has yet to do anything after a year. He was really pissed off in the season 2 finale, after all.

Going to repeat one of the things I wrote here because it deserves to be mentioned twice, and this point is one of my biggest issues.

I got the impression that Jack was a person who, when having his pride wounded, would do pretty much anything to get back at the person who insulted him.

I feel like this was kind of a plot hole that wasn't explained. Jack is ruthless and doesn't hold back at all when his true colors come out. He has no problem talking about the sexual relationship he had with Felicia in front of her father. Jack is just that horrible.

So what prevented him from ruining the Kroon family's lives earlier, when it seems to be the thing he's wanted for years?

Michael's predictable predicament

Michael first appears at the end of 3x04, where he calls Amie up to tell her he's her father.

Man: Hey! Sorry for calling so late. Is it Amie? Amie Condé? Amie: Yeah. Man: I saw you on TV the other day. I’m Michael Condé. I’m your father.

In the next episode, we get a voice-over of the continued conversation between him and Amie.

Michael: [...] I understand if it’s shocking. I’m in Oskarshamn for work for a few weeks and— Could we meet up someday?

So, it's clear what the writers are going for here. It's the estranged father who returns into the child's life when they've become successful. We're made to believe it's a Daddy Had a Good Reason for Abandoning You trope when Michael meets up with Amie and tells her why he left.

Michael: So Petra, she— Has she said anything about me? Amie: Well… That you moved from Sweden before I was born… That you’re working as a lawyer. That you didn’t want to see me. Michael: I was… I was young when we met. Your mom and I. And everything went really fast. I was in love, but she had feelings for somebody else. And when she found out that she— That she was expecting you, then… She didn’t want me there. She said I wasn’t father material. To some degree she might’ve been right, but… I wasn’t much older than you are now. I had just gotten into a law school in Berlin. When I finally came back to Sweden, then… She didn’t let me see you. I had already lost you by then, but I want you to know that I— I’ve thought of you. And about a week ago, I… I’m seeing you. On TV. There you are. With my last name. I’m so proud.

However, it's pretty easy to identify the holes in Michael's story. To be honest this whole storyline was predictable from the very start. Before Michael even came into the story, I made this post which pretty much summed up Michael's whole character when we didn't even know he existed yet (this was when 3x03 was the latest episode that had aired).

I don’t think we’ve heard any mention of Amie’s dad in the whole series except for 3x02 when Amie was being interviewed and was asked about the Condé name where she said that while Samuelsson was from her mother’s side, and Condé was from “the other side”. I found her word choice a little interesting. I don’t think Amie’s dad has passed—but rather that he’s alive and just chosen to not be a part of her life, which is why Petra seemed to be a little offended when asking Amie why she didn’t want her last name anymore. This might also be why Amie said “the other side” rather than “my dad’s side” because they have an estranged relationship. [...] I’m not really sure if they’ll do anything with Amie’s dad (maybe they’ll go for that trope where the parent who previously abandoned their child returns after the child has accomplished something big/something major happened and the parent wants something from them for personal gain?).

When we actually get to meet Michael and hear his explanation of why he left, I wrote this post pointing out some of the holes in this storyline.

Michael meeting Amie only after she’s become famous is a little suspicious, but it’s understandable if he previously thought she didn’t want to meet him and then sees her with his last name on national television. Obviously he would contact her after that. I feel like there were some question marks with Michael’s whole story though, and the fact that his work just conveniently happened to send him to Oskarshamn after he’d just seen Amie on TV. Maybe I’m missing something here, but how did he know Amie had gone back to Oskarshamn if he saw her living as a pop star in Stockholm? Was this information about Amie quitting the tour and going back to her hometown even online? If Elias (who actually witnessed Amie saying she was done and quitting) seemed taken aback when he saw Amie in Oskarshamn, then how did Michael know?

I do think Michael will return for season 4 though, so hopefully this storyline will be straightened out a little. We don't really know what Michael has been up for the past few years and if he has a family of his own. Maybe he'll contact Amie again to tell her she has some younger half-siblings?

They ended on sour terms, but if Michael does have his own family it's something Amie deserves to know and she can decide whatever she wants to do. I'd also like to see a Michael/Petra reunion, but I'm getting a little ahead of myself.

This storyline wasn't bad, and I do appreciate we got to find out what the situation with Amie's dad was. I also liked how I was able to sympathize with Michael. He's not entirely awful, even if he did put a lot of blame on Petra. It's one of those situations where you don't really know what it's like to be in Michael's position unless you've experienced it, and it's very realistic.

Plot holes

Some of the plot holes of season 3 that I've already mentioned are how Jack waited a whole year before leaking the Kroon family's secrets and how Michael conveniently knew Amie was in Oskarshamn when nobody seemed to know she was coming except her mom.

I actually don't mind that it was never explained how Michael got Amie's phone number either, because that's usually pretty easy to find with a Google search. Things like addresses, economic status, and even your criminal history are easily accessible in Sweden when googling someone's name. So finding someone's phone number is probably fairly easy as well.

On the other hand, one of the most glaring plot holes appeared in 3x08. In this episode entitled Lost, the Kroon family is frantically searching for Felicia who has gone missing. Leila and Elias knock on Petra's door to see if Amie is there and might know something about Felicia's whereabouts. Petra tells them Amie isn't there and they leave.

Someone left me an anonymous ask which I answered in this post, pointing out how it was strange that Elias didn't just call Amie to ask her when she wasn't at home. We know Elias has her number because they've been talking on the phone and texting each other several times before in the season.

In 3x08, when Elias and his mom go to Amie's house and ask Petra if Amie has seen or spoken to Felicia or whether she's home, I couldn't help but wonder, uh Elias why not just call Amie and ask her if she has seen or spoken to Felicia? [...] if Elias had called her and she heard how frightened him and his family were and police being involved she would have told him and then there would be no point in the 3x09 episode really.

This is a very strong point. You could argue that maybe Elias just didn't think of that but if they went out of their way to visit Amie's house only to not find her there, it would seem like calling her instead would just be a logical next step in the situation? Here's what I wrote in response to this ask.

This is an issue I had with 3x08 and 3x09 as well. I had a hard time actually enjoying the moment between Felicia, Klara, and Amie knowing that her family was getting increasingly worried for her and even thought for a short moment that Felicia was lying dead at the bottom of the ocean. All that could’ve been avoided. To add, it didn’t make a lot of sense to me that when Klara finally decided to call someone she called Amie instead of Elias. An ex-friend of Felicia’s instead of her brother who could’ve helped a lot more. What was Amie supposed to do when she showed up at the hotel, exactly? I know there was the thing with Klara only knowing Amie’s number off the top of her head, but there is no reason why she couldn’t have gone down to the reception while Felicia was sleeping and asked to use a computer just to get a quick message to Elias. Like, “hey, Felicia attempted something bad but she’s safe with me, we’re at this hotel in this room but she didn’t want me to call anybody, I don’t know what to do”. That would’ve been so much better than keeping quiet about the situation for nearly 24 hours. I know that Klara probably has trauma from leaving her dad at the hospital after his suicide attempt and that she probably didn’t want to go against Felicia’s wishes. I understand the first part 100%. But Felicia was in a very bad place emotionally and was thinking that her whole family hated her when that wasn’t the case. I feel like in a situation like that you kind of have to be the bad guy just to ensure the family that Felicia was safe. Even if everything turned out alright in the end, it could’ve gone so much worse if Felicia had wanted to be kept hidden for longer. [...] Elias calling Amie would’ve been an easy solution to this whole debacle but we would’ve lost the drama. It’s still somewhat of a plot hole though, like you said.

I understand it was done this way for dramatic effect, but that doesn't really patch up the plot hole.

I also found it strange how many people turned on Felicia after Jack ruined her reputation in the press. I talked about this in an ask I received.

I don’t understand why the public turned on Felicia so harshly. And Leila too, for that matter. The way Jack told the story about how these two women had things done to them should indicate that they’re not the ones to be blamed. If I read this article and found out an 18-year-old girl got pregnant by a “violent criminal” who forced her to abort and then abused her I would not be angry with the girl. I would be angry that she was physically abused and also outed on her sexuality for being bi. If I read this article and found out Leila had been cheated on by her husband repeatedly with her best friends, I wouldn’t be angry at her. I would not agree with the decision to turn to alcohol (same as Felicia turning to drugs), but I wouldn’t blame them. And I feel like a lot of people should’ve been on Leila’s side after finding out the reason why they divorced. I don’t understand why people are saying they’re disappointed in Felicia and calling her fake when she’s been through so much trauma in her life. I feel like if this actually happened in real life, all the blame would be shifted to the men because they’re the ones who—in this story—are painted as the bad guys (with the exception of Jack, considering he was anonymous).

I got another anonymous ask sent in after this, pointing out how the anger directed towards Felicia was considerably more about her drug use rather than the abuse she endured. Here was my response to that:

[...] the drug use should’ve been understandable considering the stuff Felicia had been through was also written in that article. I don’t know. I can understand people unfollowing her if they didn’t want their young children to be exposed to all the controversy, but it’s still strange that everything Felicia received was hate messages. Did everybody just skip over the part where the anonymous source stated that Felicia was violently forced to have an abortion by an ex-criminal and probably did so out of fear for her life? Yes, we know this is fake, but why didn’t anybody seem to mention this? [...] they seem to have written this storyline with the idea in mind that the public was against the whole Kroon family. Felicia got comments such as “So fucking disappointed in you and your family”, “What a nasty fucking family”, “You and your family are so fucking disgusting”. So I think Leila received plenty of hate for drinking instead of divorcing her husband sooner and basically turning a blind eye to all the problems her family went through. That’s what Jack told the press, at least. The anger seemed to be directed towards every member of the Kroon family and that didn’t make a lot of sense to me.

Again, this is something the writers did to dramatize the situation and they kind of forgot to consider that what Jack actually told the journalist wasn't as incriminating for Felicia and Leila as it were for Mats and Elias.

The magic of season 3

What season 3 really excelled in, to me, was delving into some more serious topics as well as showing the gradual development of Amie and Elias' relationship. Amie and Elias are the prime example of how a slow burn is so much better than having a couple get together too fast, like Felicia and Ludde did back in season 1.

While season 3 was still airing, I wrote a post dedicated to questions I had received about Elias and Amie. Here's one of the things I said about them:

I think Elias’ interest in her really started to grow after he saw how caring Amie was to Felicia, and later on connecting with her on how they both ended up back in Oskarshamn after following their dreams which didn’t exactly turn out the way they expected. Yes, Elias has always sort of been watching and admiring Amie from afar, but that interest didn’t start growing until he actually got to know her. The experiences they had in the US and Stockholm, respectively, probably changed their mindsets and in my opinion it makes so much more sense for them to get together now than it would’ve in season 1 or season 2.

I still believe that Elias and Amie are the best-written couple of the whole show (at least so far), because they just make sense. We'll see what season 4 has in store for them because we have yet to actually see them in a romantic relationship, but I feel like their personalities and characters just fit together really well.

Another thing I really appreciated was the depiction of Felicia and Ludde's declining relationship. Things like that happen so easily, and I liked how we see Felicia do this huge gesture of planning a picnic for Ludde in 3x04 but there were still underlying problems between them. It's like that in real life too—no matter how big of a romantic gesture you make, communication will always be the number one priority in any relationship and that's where Felicia and Ludde fall short.

The obvious disconnect between them when it comes to money is also important. It's been like this from the beginning, but season 3 gave us an actual conversation about it.

Felicia: Please, I can’t talk about this. Seriously. It was stupid of me to bring this up from the beginning. Fuck, I get such anxiety talking about the future— Ludde: You get anxiety? I’m the one walking around with no money in my account. Mom and dad had to get a loan to pay off mine and Andreas’ fines. I’m playing on a shitty old synth, and living off you like some leech. That’s anxiety. Felicia: Everything isn’t about money. Ludde: Says the one who has money. Felicia: Move out then, if it’s so fucking hard to feel like a leech.

This felt very realistic. Of course a person like Felicia wouldn't think money is everything when she's never experienced financial issues. She's able to move out into her own one-bedroom apartment as soon as she's turned 18, it seems, and doesn't worry at all about the cost of furnishing and decorating it. She didn't even pay for it herself, because Mats mentions he's the one on the mortgage loan. It seems like Felicia has never had an actual job either, and that's starting to worry her because she has no idea what she should be doing.

Felicia: [...] I don’t know what I’ll be or what I’ll do in the future. I don’t know that. Ludde: You’re still an influencer— Felicia: Don’t say I’m an influencer, please. Do you think I want to be that my whole life? It’s not even a career. I'm— I’m graduating next year, and I… My grades suck, and— I have no plan. I only have you. Not like that—I have you. That’s what I have. I want to be here, in Oskarshamn. I don’t want to go to the US and chase some dream and be a hockey wife. That’s not a life. Sometimes I wish neither of us had a plan, just us together here.

Felicia's character finally offers something interesting here, which I've waited for since season 1. She's not just a party girl anymore who has issues with drugs. She's a privileged teenager who is co-dependent on the guys she meets and who has anxiety about the future, to the point where she wishes she could stay in Oskarshamn in her little apartment forever stuck in limbo.

She has to face a harsh reality when Ludde decides to break up with her, and later on when her name is slandered in the press and people all over the country are sending her hate messages. Her own family is furious with her and Felicia has nobody. She's pushed away a lot of people and her mental state is just crumbling in front of our eyes.

It's a strong storyline and actually very well executed. Almost everything gets taken away from her, and at the end of 3x07 you can almost feel what Felicia is feeling. We've been with her through this whole journey, almost, and we understand why she feels like suicide is the only answer.

It's tough to watch that final scene of 3x07. It's greatly amplified by Alva Bratt's superb acting, but the writing of the journey there is also amazing. It's very difficult to write a sensitive storyline like this.

Overall, I don't have a lot of critique towards season 3. I loved most of the episodes. I elaborated on this further in a separate post:

[Episodes 3x04 and 3x05] showcased what Eagles should be all about so well, which is relationships plus the struggles you go through as a teenager in a small town, and then of course hockey. The hockey game episodes are really good, even if I don’t think 3x05 topped 2x05 (the game where Ludde got tackled and knocked out). I loved the contrast in Date night of the budding relationship between Elias and Amie and then that fight between Felicia and Ludde on the cliff. [...] It was interesting to see how this sweet gesture from Felicia turned into a fight between the two of them. I thought that was very realistic, because no matter how big of a gesture Felicia made to apologize there were still underlying problems that they needed to talk about. I also loved the “non-date” between Elias and Amie in this episode. It was cute to see them goofing off before the movie started and then talking about it on the way home. I liked how Elias could connect to her on how they had both returned to Oskarshamn. The recent episodes that dropped last week (3x08 and 3x09) were very strong and discussed some important subject matters [...] They were dark, but not necessarily bad because they needed to happen. However, I have to say that I prefer Eagles when it’s about hockey and teenage relationships. 3x04 and 3x05 made me kind of nostalgic for season 1 and I liked the vibe they both had.

Eagles season 3 is in my opinion the best season of the show so far, and we haven't seen any signs suggesting that there is any reason for season 4 to not be even better.

Season 4: Hopes and wishes

Considering how each season has been increasing in quality bit by bit, I have pretty high hopes for the writing in season 4. I'm excited to see how the transition from teenager to young adult will be portrayed in the main characters, and what their future will hold for them after they've graduated.

My main questions are if Felicia and Ludde will find their way back to each other or if they'll remain broken up (that would be realistic as well), if Klara will reconcile with her mom, what's in store for Elias's hockey career, and if Amie will leave her label and maybe opt for something more independent.

I also want to see how Felicia deals with the new home she's checked in to, and if Ludde will in fact go to the school now that it seems Andreas will be getting into trouble again.

Amie and Klara are kind of wild cards here, because it somewhat feels like they've already reached their happy endings. Amie is famous and successful in her pop music career, and Klara has found her place as a businesswoman following in her father's footsteps. Maybe these developments should've come in season 4 instead of rushing them.

Nonetheless, I have faith in the writers. The writing suffered a little in seasons 1 and 2 but it has gotten better. Most of the things I pointed out about season 3 were just small details in an otherwise stellar season.

In conclusion...

This post was critical, but I tend to be critical of every show I watch. Eagles is still a very special show for me and having grown up in a Swedish small town myself I'm very fond of the show and its characters.

So huge thanks to the creator, Stefan H. Lindén, for making this show a reality and also to the director Carl-Petter Montell for contributing to the writing in season 3. And of course the writers of the show which include Michaela Hamilton, Fanny Ekstrand, and Anton Nyberg (plus Amanda Adolfsson who helped write 1x02 and 1x05 and Simon Ekbäck Nordström who is credited for helping with the hockey scenes in 3x05).

I hope you guys enjoyed this long, long post and major kudos to you if you read this far!

[razieltwelve]

Writing Genre Fiction

Not all fiction is the same. It’s why we often divide stories according to which genre or sub-genre they belong to. In the case of fantasy, it’s not unusual to see stories classified as epic fantasy, or humorous fantasy, or dark fantasy, amongst many others. Each of these genres or sub-genres has its own quirks and conventions, and a reader can generally tell whether or not a story fits fairly quickly. As a writer, then, what are some of the things you should consider when writing for a particular genre or sub-genre?

In my opinion, it comes down to the five crucial aspects of a story:

Characters

Plot

Setting

Themes/ideas

Writing technique

Each of these five areas is vital to the success of a story and each genre or sub-genre has its own conventions that apply to each of these areas. Adhering to these conventions, or at least acknowledging them, is the easiest way to ensure your story fits into a particular genre or sub-genre. To illustrate this, let’s pretend we’re trying to write a humorous fantasy or a dark fantasy story.

Characters

Characters are the heart of a story. There are very, very, very few stories that can survive having boring and formulaic characters. In contrast, readers are often willing to overlook a lot of flaws in a story if the characters are interesting and engaging enough. If you want to write a humorous fantasy, then you need to make sure that humour is a part of your characters.

Let’s start off with one of the stereotypes of fantasy fiction: the adventurer. Now, adventurers are commonplace in fantasy fiction. If we want readers to know that they’re reading a humorous fantasy, then we need to make our adventurer a humorous fellow. Now, this doesn’t mean that the adventurer has to be funny. On the contrary, it is entirely acceptable for their misfortune to be the cause of other people’s mirth. Consider the following introduction:

Jeremy could still remember the day he’d first joined the Adventurer’s Guild. They’d given him a wooden plate with his name on it and told him to go kill some goblins. That first mission hadn’t gone exactly to plan. If it hadn’t been for a serendipitous landslide annihilating the goblins’ camp, he might well have met his end then and there. However, there was nothing wrong with a bit of luck to start a man’s adventuring career off. Surely, it wouldn’t be long before his wooden plate gave way to a copper one and then a silver one and then perhaps even a gold one. Ideally, he’d get to platinum one day, but he didn’t want to be too arrogant.

Of course, his first mission hadn’t been the only one that hadn’t gone to plan. The second hadn’t gone to plan either, nor had the third, or the fourth, or the fifth… In fact, it had been ten years and twenty-seven missions, and he still had a wooden plate dangling around his neck. On the upside, he’d finally upgraded from a pointy wooden stick to a proper spear. It was progress. Kind of.

Now, the moment a reader gets through those two paragraphs, they’re going to know what kind of story this is. It’s going to be a humorous fantasy. The very nature of the character (Jeremy) makes it clear that humour is going to play a part in the story. What if we wanted to write a dark fantasy? Well, we’d have to approach it differently:

Ten years and twenty-seven missions. That’s how long he’d been eking out a living. Mission to mission. Day to day. Never knowing when he’d finally bite off more than he could chew. He’d done everything he could to rise up through the ranks, but nothing had worked. He’d lost a few fingers for his troubles – and more than a few friends. The best nights were the ones he didn’t dream. But when he did dream…

Gods. He could still hear the screams. He’d seen fellow adventurers ripped to bits by goblins, crushed under landslides, or set ablaze by fire drakes. It wasn’t skill that had allowed him to survive. It was luck. And maybe a bit of cowardice. But adventuring wasn’t a job for heroes. No. Heroes got killed quickly. It took a cunning man to survive, and a cunning man had to be willing to cut his losses, even if it meant losing a few friends in the process. It might make it hard to sleep at night, but it was still better than ending up in a dragon’s belly or on some ogre’s skewer.

Again, you can see how the character himself is quite a dour, pragmatic fellow. This already makes it obvious that the story will have different feel to it than the earlier one. Moreover, his explanation of his history makes it very clear that this is a world where bad things can and do happen quite frequently to people in his profession. Moreover, his admission that running and abandoning people is acceptable demonstrates a certain… darkness to the world he inhabits.

Characters often reflect the genres or sub-genres they are a part of. If you want to write a humorous fantasy or a dark fantasy, then that needs to be reflected in your characters.

Plot

The plot is another critical part of a story. It is, simply speaking, the sequence of events that occurs throughout the story. Once again, the plot itself can be used to signpost what sort of story a reader is dealing with, and readers who want to read a particular genre or sub-genre will almost always expect certain things from the plot.

For a humorous fantasy, this often means a subversion of expectations to create humour. Since fantasy, as a genre, has so many expectations, this is actually not as difficult as it might seem at first glance. Imagine you’re reading a story and you get this for a plot:

Prince Zachary was the second-most dashing prince in all the land. To become the most dashing prince, all he needed was to rescue a princess. It’s a pity, then, that there aren’t any princesses that need saving. What to do? Well… why not use his royal wealth to train a commoner to pretend to be a princess before hiring a dragon to pretend kidnap her? He could then ‘rescue’ the princess and claim the number one ranking. What could possibly go wrong? How about everything.

As you can see, the plot subverts a whole host of expectations in a way that immediately makes it clear that this is going to be a humorous story. Indeed, the plot is perfectly set up to create humorous situations from beginning to end. Now, what if we wanted to write a dark fantasy? Dark fantasy has its own expectations, and in this case, we’ll want to conform to them. That means taking the normal fantasy tropes and ideas and adding some grim darkness to them.

Prince Zachary was once the heir to the second-most prosperous kingdom in the land, but betrayal saw the downfall of his family. Robbed of his birthright and forced to wander the land disguised as a commoner, Zachary struggles to survive. Ambushed on a lonely road by bandits, he finds himself on the verge of death. Wounded, penniless, and alone, Zachary has no choice but to abandon his honour to survive. If he wants to reclaim his throne, he’ll have to become the same sort of monster as the traitors who struck down his family.

Dark fantasy features dark themes (as the name suggests), and this generally needs to be reflected in the plot. Betrayal, tragedy, and general horribleness are all parts of dark fantasy, and you’re going to need to have them in your plot if you want to write a dark fantasy. It’s not a coincidence that so many dark fantasy stories have what seems to be a whole dictionary’s worth of awful things happening to people.

The plot your story has can often be one of the biggest tells as to which genre or sub-genre it belongs to. A humorous fantasy will often have a humorous plot. A dark fantasy will often have a darker plot.

Setting

The setting of a story is the world in which the story exists as well as the rules that govern that world. What sort of setting you have will greatly influence how your story is perceived by the reader. As you can imagine, a setting full of tragedy and woe will lend itself more easily to a dark fantasy story… unless you make the tragedy and woe so utterly ridiculous that it becomes funny, in which case you’ll end up with a humorous fantasy. Don’t believe? Let’s try it out.

Evermere is a world riven with conflict. Its petty kings have fought for centuries, and their wars have done nothing but wreak havoc and suffering upon common folk and nobles alike. Driven to ever greater depths of desperation, the squabbling kings have turned to demonic pacts to further their power. Now, demons walk the land, harvesting the souls of all those unfortunate to cross their path and inflicting even greater tortures on all those who dare to oppose them.

Yeah. The world described above is pretty awful. It’s got all the ingredients you need for a dark fantasy because it allows you to deploy all of the most common tropes, traditions, and conventions (e.g., people getting tortured, civilians getting wiped out, people being betrayed, bloody conflict for petty reasons, etc.).

But what if we turned the tragedy and woe up to eleven? Well, then you’d get a setting that actually lends itself to humour:

Evermere is a world where kings are a dime a dozen. Wait. That was last week. Right now it’s about a penny a dozen – royal inflation and all that because of all the unnecessary kin-slaying and treachery. And let’s not forget the demons. Constant civil war wasn’t bad enough. Someone actually thought getting demons involved was a good idea. Now the local tax collectors are joined by demonic soul collectors in a never-ending bid to suck commoners and nobles alike dry of all their wealth and their souls.

As you can see, the setting here makes it clear that this is going to be a humorous sort of story despite it being quite dark. Indeed, the increased darkness is such that it actually goes from being dark to being amusingly over the top.

Setting matters. The world your story is set in is what gives it context. Dark fantasy stories often have dark settings. Likewise humorous fantasy stories tend to have humorous settings. In a dark fantasy, demons might expect payment in souls. In a humorous fantasy story, demons might demand payment in limited edition action figures.

Themes/Ideas

Every story has themes and ideas. In some stories, these might play a very central role. In others, they are more in the background. By now, you can tell where I’m going with this. Each genre or sub-genre has themes that occur quite frequently. Including these themes will often make it easier to write for those genres or sub-genres.

If you want to write a dark fantasy, it’s likely you’ll end up including themes or ideas like:

Betrayal

Crime paying off

The good guys not always winning

Pragmatism over honour

Moral relativism

What makes humorous fantasy (and humour in general) a bit of a special case is it’s not so much about what themes or ideas you employ but more about how you use them. For example, you can write a perfectly serviceable humorous fantasy using the themes given above with a few tweaks. Have the betrayal at the heart of the story be something petty, such as two wizards going to war because one dared to wear the same robes as the other to a prestigious convention. As for moral relativism, instead of making it a complex discussion about moral shades of grey, make it a story about a guy who has realised that sometimes it makes sense to pay a dragon to eat the bandits who’re troubling your village.

Certain themes and ideas lend themselves best to particular genres and sub-genres. Making use of those themes and ideas will help you to write a story that satisfies the reader and fits into those genres and sub-genres.

Writing Technique

Writing technique refers to the technical aspects of writing, such as word choice, sentence composition, and so on. Different genres and sub-genres are written in different ways, so conforming (or not conforming) to those standards can make your life as a writer easier.

Take something like epic fantasy. In most epic fantasies, you tend to see more advanced vocabulary and longer, more complex sentences. The prose will often come across as a bit florid or even purple to those who aren’t fond of epic fantasy stories. In contrast, dark fantasy stories tend to lean more toward more succinct prose and grittier descriptions and exposition. Battle isn’t some glorious, heroic endeavour out of story and song. It is brutal and ugly and bloody and all too real. Likewise, humorous fantasy has its own writing techniques, such as hyperbole, contrast, and so on.

Just contrast these descriptions of a battle.

Blood. The coppery smell of it filled the air. Gerard’s spear caught in his opponent’s gut, and the dying man lunged forward with his sword. Gerard let go of the spear and dodged the desperate slash before he drew his dagger and jammed it into the man’s throat. Blood spewed from the wound, and he shoved the other man into the muck of the battlefield. At his feet, a wounded man clutched at his leg. He kicked him in the face and yanked his spear free. There was still plenty of killing to do.

That, as you can imagine, would fit well into a dark fantasy. It’s gritty, realistic, and definitely dark. Now, how about something different:

The two men circled each other, their blades at the ready, each as keen for battle as a berserk wolverine. With all the grace of two walruses fighting on the shore, the pair lunged forward. To call what followed combat would have been an insult to the word combat. It was closer to the deranged flailing of two half-witted drunks.

The writing style should immediately give away that this isn’t a serious story. Instead, it’s a humorous one.

Writing technique can greatly impact how a story is perceived. Things like word choice, sentence construction, metaphor, exaggeration, and more can all help define what genre or sub-genre a story belongs to.

Summary

If you want to write a genre story, then you need to understand how that genre works. Each genre has its own rules, expectations, and conventions. You don’t need to slavishly follow all of them, but incorporating at least some of them into the characters, plot, setting, themes/ideas, and writing techniques you employ will make your task far easier – and far more enjoyable for the readers. This applies to areas as diverse as dark fantasy and humorous fantasy.

If you’re interested in my thoughts on writing and other topics, you can find those here.

I also write original fiction, which you can find on Amazon here or on Audible here.

[birbleafs]

[fic] A Much Ado About (PSI)oulmates

Series: Saiki Kusuo no Ψ-nan || The Disastrous Life of Saiki K. Rating: T Genre: Humour, Breaking The Fourth Wall Character(s): Saiki Kusuo, Aiura Mikoto, Satou Hiroshi, Akechi Touma, Toritsuka Reita Warnings: None, save for canon-typical shenanigans Summary:  Aiura decides to combine her divination abilities with Kusuo’s powers for a super special comedic segment on Affinity Levels. Fic can also be read on AO3 _______

Excerpt taken from clairvoyant Dame Mata-Mata’s advert for Amazing Psychic Services:

99.9% accurate affinity readings and guaranteed life-long happiness! Discover your twin flame with as little 10,000 yen per hour! Some would say it’s foolish to risk your future and wallet on such clandestine offerings, but we assure you, we are no worse than the underhanded brand marketing on children’s television series! Call 1800-TWINFLAMES -1234567 to book a reading today!!

***

Anyone who would believe such clandestine and shady offerings isn’t just a fool but a complete buffoon, Kusuo scoffs impassively at the flyer before him. This is definitely worse than the underhanded brand marketing on children’s TV shows.

“They’re a total noob at it, fer sure!” Aiura says, leaning in too close and posing next to Kusuo as she takes a wefie with her phone. “Like sure, the concept of twin flames and soulmates ain’t new, but to claim everyone has half a soul yearning to get jiggy with its other missing half for life-long bliss is like, a gross oversimplification.” I don’t really care to be honest, Kusuo deadpans. He stares sullenly at how Aiura’s arm is still wrapped around his; she offers him a cheeky grin and a peace sign, snapping yet another wefie before she finally slides away to the opposite seat. “Soulmates just have more natural affinity for each other,” Aiura says, batting her eyelashes at him coyly. “But just like with everything, it doesn’t mean you don’t need to put in any effort to make it work! Hey, speaking of which—the author has a super special birthday tradition where she writes and/or posts up a new story, so this fanfic can totally be about Affinity Meters, right?!” Don’t know what you’re going on about and still don’t actually care, Kusuo retorts, shoving a spoonful of coffee jelly into his mouth as he resolutely tries to enjoy his Sunday afternoon. But Aiura persists, easily breaking the fourth wall to elaborate further: “Just like how Kusuo can use the Affection Meter to quantify a person’s love for another, today we’ll combine Kusuo’s telepathy and my own divination abilities to measure soulmate compatibility via Affinity Levels! So, without further ado, let’s go, let’s goooo!” Aiura, no, Kusuo groans in quiet despair. “Miko-chan, YES!” Aiura whoops, fist-pumping the prologue away as the scene fades out. _______

i.

Satou Hiroshi

Conventional. Moderate. Regular. Behold the quintessential stock background character, the pinnacle of normality—Satou Hiroshi. Standing at a height of 169.9 centimeters and weighing at precisely 61.0 kilograms—the exact national average of a healthy sixteen-year-old Japanese male—he is the gold standard, the epitome of normal. It’s a shame then that few recognize Satou-kun’s remarkable ordinariness, Kusuo muses, watching said background character ambling down the sidewalk with an approving smile. Nevertheless, perhaps that may be to my benefit. Surely our Affinity Levels must be pretty high; after all, we’re both normal and regular high-school teens who do not stand out much— “I don’t think using your powers to make yourself inconspicuous counts though,” Aiura says as she glances over Kusuo’s shoulder, puzzled at his fixation on someone so… well, boring. Kusuo isn’t even listening. We both have regular aspirations and hobbies, seeking only to live peaceful days! “Funnily, I now remember peeking at Normal-kun’s fortune for Hii-chan. And get this, his biggest dream is being on stage as a rock star! Like seriously, how typical can he get?” —So, taking into consideration all of the above, Kusuo presses on, undeterred by Aiura’s commentary, surely we would hit it off as friends with optimal affinity levels! “Uhm, Kusuo?” Aiura nudges him with her elbow, pointing at the meter hovering beside them. “Not to be a wet blanket and all, but the Affinity Meter started running again as you were waxing lyrical earlier, so now it’s showing that Normal-kun and your Affinity Levels are like, really just two stars at best.” She leans forward, squinting at the screen. “Simply because he thinks you’re okay but still a bit of a weirdo. Dayum, the nerve of this twerp!” Kusuo stares wordlessly at her for a beat, slack-jawed. A-Ahyuu…?

Affinity Level: ☆☆ _______

 ii.

Akechi Touma

“It pains me to have to do this,” Aiura lets out a dramatic sigh. “But since Childhood Friends is a pretty popular trope in animanga, and therefore in fanfiction, I guess there’s no avoiding it.” Kusuo scowls, not liking where this is heading at all. It can totally be avoided. We can just avoid talking about it altogether. “Is that you, Kusuo-kun?” Akechi says as he suddenly appears at Kusuo’s side, curiosity in his eyes. “Oh, I see Aiura-san is here as well. I couldn’t help but notice how you two were standing and talking together so I thought I should come say hello, even though I was rather hesitant at first. I didn’t want to abruptly barge into your conversation, you see, as that would have been awfully rude, and I certainly don’t wish for you to think of me as rude, Kusuo-kun.” Yet here you are barging in anyway, blathering on incessantly like a runaway freight train, Kusuo remarks drily. “Well, I couldn’t help but overhear the mention of Affinity Levels,” Akeichi beams as he continues, unfazed by the jibe. “And I can’t say my curiosity isn’t the least bit piqued, even if I have little to no real interest or belief in the notion of soulmates. In fact, the existence of an actual soul remains debatable in scientific circles—” Exasperated, Aiura tries to interject. “Since you ain’t all that interested, mind if you just zip those lips for like five minutes? My hair’s gone all frizzy from the heat of your endless jabbering!” “However, these debates on the existence of the soul had also been instrumental to the understanding of the anatomy and physiology of the human body—” “Oh my God, please just stop yapping for ONE sec—!!” Aiura shrieks, tugging at her curls in frustration. She accidentally kicks the Affinity Meter to start running, and the lights blink and flash in a rapid blur before the meter gradually slows down to display four bright stars upon its screen. There’s a beat; the trio leans forward, staring at the meter in awkward silence. Kusuo’s brows are furrowed at the unexpected results; he shrugs it off as a fluke. Clearly there’s some technical issue with Affinity Meter (never mind that the meter works, in part, based on Aiura’s divination abilities, which have, to date, always been accurate). There’s just no way Akechi could ever beat Satou-kun on that scale, he’s too much of an abnormal— But Aiura is already moving forward, reaching out to grasp Akechi’s hand in a firm handshake. “Aiura-san? Is there something…?” She acknowledges Akechi’s curious gaze with a curt nod. “All right, I can’t deny it any longer. Not with that impressive detective aura of yours and with results like that on both Kusuo and my own Affinity Meter.” Oi, oi. Don’t start spouting weird nonsense now, Miss Abnormal! “All right, Akeinu! I hereby deem you a worthy rival in the fight to stand as Kusuo’s trusted sidekick!” “Oho! You’ve even given me a cutesy nickname as acknowledgment! I must say I’m quite flattered, Aiura-san.” How about I side-kick both of you out of my life right now? Kusuo sighs, mildly perturbed by this unexpected turn of events.

Affinity Level: ☆☆☆☆ _______

iii.

Toritsuka Reita

…… …… …… What, did you seriously think Toritsuka was getting a proper scene? He’s already way too pathetic. NEXT— “W-wait, did you just cut my scene?!” Toritsuka shrieks from the void like a headless chicken. “Don’t just write me off, Saiki-saaan!!” —Saiki exits stage left, pursuing normalcy. “And don’t just narrate yourself out!!”

Affinity Level: N.A. _______

iv. Aiura Mikoto

“At first glance, you might think we make for an odd couple,” Aiura says with a coquettish smile. “And how it seems absolutely cray that we could get along. Or like, that we don’t mesh just ‘cause our personalities clash way too much or somethin’.” She chuckles at the notion, running perfectly manicured nails through her luscious locks. “I mean, it’s obvs only those inexperienced with the inner workings of the heart would think that. Because opposites attract, y’know? It’s the push-pull dynamism between us that spices things up! Like two tango dancers stirring up a flame on the dance floor—it keeps things refreshing and exciting, but still comforting and familiar in the end, like sharing a nice, warm bath at the end of the day, or cuddling up together at the sofa, feeding each other spoons of dessert…” Aiura pauses, blushing when she catches sight of the Affinity Meter fluttering gently by her shoulder, at the line of stars glowing from the screen, a beacon of reassurance of their status as soulmates. She turns towards Kusuo, suddenly self-conscious as she tucks a stray lock of hair behind her ear. “Say, Kusuo… How about we head to that nice dessert buffet together and—” Only to realize she had been practically talking to thin air all this time. “H-Huh?! Aww, gimme a break! Where did you run off to this time, Kusuooo?!”

Affinity Level: ☆☆☆☆☆ _______ v.

Coffee Jelly

Good grief—finally some peace and quiet. Kusuo sighs as he leans back into the leather seat of his booth, in a nondescript cafe far away from his usual annoyances. He dips a spoon into his dessert bowl, lifting a dark sliver of coffee jelly to his mouth, and smiles in absolute contentment. There’s a soft whirr, and then a ping from somewhere below. He flicks a furtive gaze at the Affinity Meter hovering at the empty space beside him, curious despite himself. The endless line of glowing stars are probably a bit much, but he smiles anyway at the screen. Huh. I guess it works after all.

Affinity Level: ☆☆☆☆☆☆☆☆☆☆

—End— _______ Notes:

It’s tradition for myself to spend my birthday writing and/or sharing a new fic (happy birthday to me!! lol). I also had this sitting in my draft for way too long and decided to kick myself to finish it. Apologies for any typoes/errors.

Comments and critique are always welcomed for my fics—I'd like to hear what you think, if you've enjoyed this! Thanks for reading :)

[mediaeval-muse]

Book Review

Confessions of the Fox. By Jordy Rosenberg. New York: One World, 2018.

Rating: 4.5/5 stars

Genre: historical fiction, queer fiction

Part of a Series? No

Summary: Set in the eighteenth century London underworld, this bawdy, genre-bending novel reimagines the life of thief and jailbreaker Jack Sheppard to tell a profound story about gender, love, and liberation.

Jack Sheppard and Edgeworth Bess were the most notorious thieves, jailbreakers, and lovers of eighteenth-century London. Yet no one knows the true story; their confessions have never been found. Until now. Reeling from heartbreak, a scholar named Dr. Voth discovers a long-lost manuscript—a gender-defying exposé of Jack and Bess’s adventures. Is Confessions of the Fox an authentic autobiography or a hoax? As Dr. Voth is drawn deeper into Jack and Bess’s tale of underworld resistance and gender transformation, it becomes clear that their fates are intertwined—and only a miracle will save them all.

***Full review under the cut.***

Content Warnings: sexual content (as in sex acts, not the mere presence of lgbt+ people), blood, graphic depiction of top surgery, violence, racism, gender dysphoria

Overview: I didn’t know what I was expecting when I picked up this book, but something about it just hit all the right angles for me. I adore historical fiction that not only aims to imitate the aesthetics of the period, but also focuses on underrepresented identities, such as queer, non-white, and working or poverty class people; thus, it was inevitable that I would find Confessions of the Fox would be so engrossing. I do understand that this book might not be for everyone, as Rosenberg plays with a lot of academic ideas that usually fall in the realm of theory, but personally, I loved that this book wasn’t just about trans identity. While gender and identity and queerness were at the heart of this book, Confessions was also about archives and policing and commodities and so much more - things that were related and engaged the more academic part of my brain, but somewhat complicated for casual reading. Nevertheless, it was ambitious and smartly-constructed, so I’m giving it a high rating, even if I have quibbles here and there.

Writing: As a former academic and lover of history, I very much enjoyed Rosenberg’s approach to genre, form, and writing. It would have been easy to simply write a story using modern aesthetic tastes, but Rosenberg goes out of his way to imitate the prose style of the 18th century. I loved the richness of the vocabulary and the complexity of the sentences, as well as the juxtaposition of the sacred and profane. It was refreshing to read such beautiful prose that the author clearly put a lot of love into, and if you want to be so immersed in a story that you feel like you’re reading a historical document, I think Rosenberg does a wonderful job.

I also really loved the way Rosenberg wrote about trans identity in the 18th century. There are passages, for example, where Jack’s attention wanders while being dead-named, where Jack expresses feelings of confusion or freedom when talking about his physical body, where he talks about the process of coming into being when he heard Bess use his name, etc. I thought these passages were the most beautifully written and impactful, and they stayed with me the most after I finished the book.

These 18th century “confessions” are accompanied by a number of footnotes, written by a character named Dr. Voth in the present day. In these passages, Rosenberg shifts his tone and style, thereby differentiating between past and present without having to constantly remind the reader that Jack and Bess’s story is told through something of a frame. I think the choice to have footnotes instead of chapters where Voth’s POV takes center stage was a good one - it more effectively created parallels between the 18th century story and Voth’s personal story, and reminded the reader that history (especially trans history) evolves as a result of a kind of archival work, collected in pieces by many different people. In that sense, form matched function, which I am always delighted to see in my novels.

That being said, I can’t say I enjoyed Voth’s voice all that much. This criticism is probably a personal preference rather than anything Rosenberg did wrong - I just think Voth’s voice felt a little too conversational, like he was talking to someone instead of writing.

Plot: Most of Rosenberg’s novel follows Jack Sheppard and Bess Khan as they discover Jack’s identity, evade arrest, and disrupt a horrifying commodity trade (so to speak). In my opinion, the plot points surrounding Jack’s personal journey were incredibly well-constructed; I felt that the evolution of Jack’s gender identity, the romance between Jack and Bess, and their evolution as criminals were all very compelling and touched on a number of engrossing themes, from gender to poverty to anti-capitalism. Granted, there were some areas where I think the pacing dragged, but part of me thinks this was due to the 18th century style and genre conventions, more than anything Rosenberg was doing wrong.

In Voth’s footnotes, we also get something of a personal story which includes Voth being coerced into working for an exploitative publishing company at the direction of his university administrator. As we go through the footnotes, Voth recounts conversations he had with these figures while also disclosing details about his failed relationships - with one ex in particular. While I did like the parallels that exist between the manuscript and Voth’s own life, there were some things that challenged my suspension of disbelief. For example, I would never expect an academic to record personal anecdotes and intimate confessions in footnotes for an academic project. Maybe that happens in academic circles outside mine, and I understand it needs to happen for plot reasons (just reading references to critical theory or secondary sources would be boring for most people), so this criticism is coming from a place of being too close to the setting surrounding the text, in a way.

I also think that there were some passages where sexual activity would be mentioned where it was not needed. I do understand, on some level, that sex and sexuality is an important topic in trans studies (and queer studies as a whole), and I don’t want to appear too prudish. However, I think random references to a character masturbating, even if they were making a point, were a bit egregious. I was especially put off by the story of a 15 year old masturbating (in the present-day footnotes), and though I understand the story was illustrating an academic concept and books should acknowledge that (many) teens do have sex drives, it was also a bit much for me, personally.

Characters: Jack, our primary protagonist, is interesting and complex not just because he struggles with his identity as a trans man, but also because he struggles with acting in ways that are not out of self-interest. Though he is a thief and thus acts in self-interest in understandable ways, he eventually uncovers an operation which involves the production of a drug-like substance (or something - that’s the best I can describe it). Bess demands that he destroy all samples so that the substance can’t be reproduced by others, but Jack wants to confiscate the samples for himself to make a huge profit. I liked that this conflict existed, not only because it showed Jack as having other challenges in his life other than his gender identity, but it also spurred character growth and emotional turmoil.

Bess Khan, a prostitute and Jack’s lover, was written in a way that respected sex work and provided commentary on race and policing. I really liked that she had a strong set of principles and desires that were larger than herself, and I liked that she was confident and forceful where Jack could be meek and unsure.

Other rogues were equally loveable and admirable. Jenny, another prostitute, was a nice example of women forming networks of support within the criminal underworld while also showing how white women (even prostitutes) are treated differently than non-white women. Aurie, a black queer man, was also a supportive friend to Jack who is frequently instrumental in his survival. There is also a wide variety of named and unnamed rogues who were non-white and/or queer in some way, providing a rich array of characters that dispels the assumption that 18th century England was homogenously white and straight.

Our main antagonist, Jonathan Wild, is a bit less interesting in that he’s mainly just corrupt. I personally didn’t care for the chapters from his perspective, though I do understand that he functions as an important, symbolic figure that embodies all the things Jack and Bess work against (capitalism, police corruption, etc.).

Voth, our modern day commentator, has his moments, but sometimes, I would waffle back and forth between finding him engaging and finding him pretentious. I understand that he is supposed to be flawed, and I sympathize with a lot of his plights - mainly the pressure from his university and the anxiety he suffers from. But also, I found his voice to be somewhat combative, and if the point was to make a complicated, likeable-sometimes-unlikeable-other-times character, then I think Rosenberg succeeded.

TL;DR: Confessions of the Fox is a beautiful debut novel that engages with trans identity and history, though it does so in a way that may be a bit too academic for some readers. But while it definitely demands much of your attention, Rosenberg ultimately delivers a rich, engrossing story that reaches beyond the historical and textual boundaries of the page and invites the reader to see themselves as part of a vast network that is constantly “making” and “becoming” itself.

[hellzyeahthewebwieldingavenger]

Do you mean the characterization where the character relived all of Peter Parker’s memories at the end of ASM #700 and was trying his best (from his point of view) to be a hero and NOT a villain? It’s almost like an important, life changing/character-changing moment like that happened in between those two scenes. But go figure. :-D

@danslott-blog

I’m writing this because I wouldn’t have space in the original post. This is to be considered a direct reply to the above poster.

You know, I can’t be 100% certain if you are the real Dan Slott or a sycophantic fan of his. Your blog page…

…leads me to believe you are in fact the real Dan Slott. 

Thing is I saw this comment last night but I didn’t check out your blog until this morning. Nevertheless, last night my first instinct was to presume you to be the real Dan Slott.

The fact that my mind immediately jumped to that possibility, the fact that I can’t rule it out and the further supportive evidence of your blog, speaks volumes.

It speaks volumes about the person Dan Slott whether or not you are the genuine article or not. Because your actions so thoroughly fall in line with his behaviour.

And it is damning. As are your words. Let’s unpack them.*

So, did I mean Otto’s characterization? That’s what you were getting at. That my original post was in reference to Otto’s characterization between ASM #700 and Superior #2?

No.

I did not.

At all.

I was referring to Mary Jane’s  characterization. I elaborate upon the topic in this post.

Tl:dr: MJ was eager to sleep with ‘Peter’ in the former issue but not in the latter.

That should have been utterly obvious  to anyone observing the post because I was presenting events from 2 issues and saying they didn’t line up. Obviously  the purpose was for the readers of my post to play spot the difference.

The similarities were Otto’s desire to have sex with Mary Jane. The difference was with MJ.

As of this writing, twelve other people grasped that obvious intent Dan.

Why on Earth do they have superior reading comprehension skills than a professional writer  for the largest comic book company in America? Surely that should be a basic requirement of the job?

Not that I’m surprised. It is exemplary of the vast majority of your pathetic, reductive and damaging  work on this franchise.

But let’s dive deeper.

You claim that Otto reliving Peter’s memories in ASM #700 (after the scene in the OP) changed him hence he was different in Superior #2.

But he’s not.

In ASM #700 he tried to exploit Mary Jane’s misconception that he was Peter Parker (and her pre-existing feelings for him) to have sex with her.

In Superior #2 he was still  trying to exploit Mary Jane’s misconception that he was Peter Parker (and her pre-existing feelings for him) to have sex with her.

So he hasn’t changed. At all.

But for the sake of argument, let’s pretend you are right. In Superior #2 (because he relieved Peter’s memories) he was trying to be a better person from his point of view.

So you are saying from his point of view   raping Mary Jane by deception constituted trying to be a hero and not a villain?**

If Otto experienced Peter’s memories then that would logically entail his upbringing and morality. Meaning Otto would in fact know that what he’s trying to do with MJ is unethical. Or he’d appreciate that he’s not the real Peter Parker and it’d be a disservice to the real man who’s legacy he’s trying to uphold to sleep with the woman he loves. Or he’d know who MJ was and appreciate she deserved better than to be deceived.

But no. He was horny and was going to satisfy himself  no matter what. Hence later in the issue after he experiences Peter’s memories of ‘being’ with MJ he says he’s ready to move on and starts eyeing up other women, including Sajani.

Furthermore, even without Peter’s memories Otto would never have attempted to sleep with Mary Jane for two big reasons.

The first is that she is frankly not his type.

Prior to Superior, the women Otto held affections for (romantically or otherwise) were either scientifically gifted (Mary-Alice, Carolyn), admirers of his brilliance (Stunner, Carolyn, Mary-Alice) or unconditionally kind towards him (Aunt May).

You know…kind of like his own mother was!

MJ is not scientifically gifted. MJ did not admire Otto’s genius. As far as he knew she didn’t even admire Peter’s genius and even the times she has canonically it has been in a different way to the ladies in Otto’s life. MJ was never singing Peter’s praises for being so clever for inventing this or that, she was never borderline fangirling over his intellect. She also wasn’t unconditionally kind like Aunt May was, her kindness manifested in a starkly different way. She wasn’t taking Otto, Peter or a stranger home for a cup of tea or a nice meal.

Since Otto wanted to sleep with her before  he was exposed to all of Peter’s memories, the only rationale reason for his interest was the superficial. She was an attractive young woman and Otto wanted her body.

Which would be weird  right because I seem to recall you and your buddy Christos Gage saying Otto didn’t care about looks in his romantic partners?

This brings me to my second reason.

Otto is evil but he’s not Purple Man/Doctor Light levels of evil. He wouldn’t do something as debase as that, he’d view it as beneath him. In his own warped way he holds a certain respect for women. Hence he genuinely cared for Aunt May, Stunner, Carolyn Trainer, Mary-Alice and of course his mother.

But let’s say I’m wrong. Let’s say Superior #2 was covering totally virgin territory for the character that had never been touched upon before. As in there had never been a word written about Otto’s love life, attitudes to women, attitudes to sex, etc.

That being the case, you established as hard canon that Doctor Octopus, the villain of the pg-13 movie Spider-Man 2, antagonist in dozens of Spider-Man cartoons for children and video games for kids and teens, is an attempted rapist!

As in if MJ hadn’t turned him down all those times his attempts would’ve been successful and he’d just be an actual  rapist.

You took a beloved, fun character (who was unique for having a somewhat humanitarian side to himself) and made him utterly irredeemable. You had him attempt an act of evil that the readers know (within the context of the genre conventions) is one of the, if not the actual, worst things a villain can do.

Good job buddy.

Oh, and needless to say, you totally and utterly failed to take Mary Jane’s point of view into account; as you did in response to my OP.

You never considered how you were using the main female character of the franchise who is beloved  within the fandom and generating cheap, gratuitous tension by threatening to rape her.

In conclusion Dan Slott, you were never ever qualified for the job as Spider-Man’s lead writer. You never ever deserved the role because of how you lied and cheated your way into Marvel, disrespected the works of your predecessors and disrespected the characters you were in charge of.

You had good ideas half the time but your writing craftsmanship skills on the title were woefully lacking hence you could only competently execute them 1/8th of the time. When combined with the raw damage you wrought to the characters and narrative you are without question the single worst on-going writer of Spider-Man in history.

I’m sure you are pleased with that record considering it was blatantly obvious you were far more invested in cultivating an eventual legacy for your self on the character than you were actually serving the characters and organically developing them.

Author of ASM #600, 700 and 800

The only Spider-Man writer to have written 3 centennial issues in a row.

The guy who has written 1 in 5 issues of Amazing Spider-Man.

Oh, and also the worst on-going writer of Spider-Man in history.

Wow.

What an achievement.

Now, why don’t you stop searching for your own name or works online and do something more practical with your time.

Like learning how to write.

*Oh and btw, I’m writing this presuming you are the real Dan Slott.

Also I’m going to try my best not to swear but that is where my politeness ends. This isn’t CBR Dan, Mister Mets (nor any other moderator) is around to censor or ban anyone to protect you.

**And yes, having sex with MJ when she didn’t know he was really Doc Ock is objectively  a form of rape. Here is literally the first sentence  about rape on Wikipedia, with emphasis by me:

“Rape is a type of sexual assault usually involving sexual intercourse or other forms of sexual penetration carried out against a person without that person's consent.”

Contrary to what your buddies Fred van Lente or Stephen Wacker might have told you, force is not a requisite.

No consent = rape.

Had MJ had sex with Otto she’d have been giving Peter her consent not Otto. Therefore Otto would have been raping her. This was acknowledged in fact in a Dead pool comic book from 1998!

Courtesy of one of your Brand New Day peers, Joe Kelly, Deadpool v1 #12 saw Wade have sex with Siryn, whom he had feelings for.

However, in the next issue ‘Siryn’ reveals she was actually Typhoid Mary in disguise, a woman who’d endeavored to bring out Wade’s darkside against his wishes.

Wade’s dialogue and body language clearly convey how he feels sickened and violated by the experience. When he asks Mary why  she did this to him she replies it was simply because she could. Whilst Wade is on the ground feeling vulnerable she stands up, leans over and licks him!

The scene when taken in context is brutally unsubtle. Typhoid used trickery to exploit Wade. She put herself in a position of power and abused that power to dominate Wade, to remove his agency.

That is literally all rape boils down to. Not sex but power. The scene, especially the last panel hammers that point home.

But just in case  you still didn’t get it the very next page depicts Wade vomiting and saying he needs a shower.

This is a common reaction from victims of sexual assault, at least in media. The ‘I need a shower’ moment is practically a trope.

Why did a 1998 Deadpool story  have a clearer understanding of the topic being played with than a 2013 Spider-Man story…that was allegedly for children no less!

P.S. You know Tom DeFalco had Peter Parker wrestle with his emotions in the wake of the ‘Death of Jean DeWolff’ story arc way back in ASM #275.

You might say that witnessing such violence and examining his own actions with perspective was a life changing experience for him.

With that in mind, how about you explain to me why Peter experiencing death, deletion, abuse of his life and body, losing a whole year of his life and then returning to it totally changed doesn’t  count as a life/character changing experience?

Because you sure as hell didn’t write him reacting with the pain, the sadness, the anguish that he (or any normal human being) would’ve had after he came back. Nope. Just back to cracking jokes I guess.

Do you like…not know how human beings work?

That’s a rhetorical question because I know the answer.

[nomanwalksalone]

AGAINST INTELLIGENT DESIGN

by Réginald-Jérôme de Mans

I write these words with apologies to a personal friend, a man who taught me an enormous number of things, who steered me right when I was thinking of all sorts of asking for all sorts of passing trendy details on a pair of custom shoes, and who set me on the path to discovering the best shirtmakers and tailors in the world, unsung though they were at the time.

Some time ago my friend dismissed the words of a prominent Teutonic style author whom I’ll call Vogelkundler, a proponent of supposed English and Italian clothing styles, asserting instead that no one can teach you to be a gentleman or an elegant man, that trying to copy the styles of another culture inevitably fails terribly so that trying to dress like a country squire is as much of a failure in Gotham as on Gothos. “Style,” my friend proclaimed, “is absolutely something one is born with since genuine style is individual and the code is provided to each of us at birth.”

I thought of my friend’s words as I prepare to get rid of the first two shirts pictured here, perhaps by donating them to a costume museum.   After all, costume is what my friend had called most of what people who learn how to dress from books like Vogelkundler’s wear, an inauthentic pastiche of others’ ideas of elegance. How much expense could be avoided, he suggests, if we simply expressed our own inner personal style, a style without reflection or conscious thought?  This must make him the Zeus of clothing fora founders, for in his universe style springs forth like Pallas Athena, fully developed, from his head.  To him, personal elegance appears to be the revelation of a fundamental and completely thought-out truth whose elements were always present.

My 14-year-old shirts are evidence against this concept of intelligent design, my friend’s premise of unchanging and permanent personal style truths.  Even if we remain ever true to ourselves, that truth has another dimension – that’s the fourth dimension, time (okay, come at me, physics bros).  Our tastes evolve over time. To the extent we feel our style, and our clothes as its expression, are an extension of ourselves, over time as our style changes bit by bit we may favor a piece of clothing for slightly different reasons, combine it with different sorts of outfits, wear it for different purposes, or take what we liked about it and try to reproduce those discrete features in searching for or ordering new items with those attributes.  

My friend is correct that even the best written, most informative book on style, like Vogelkundler’s, may not give us style.  But what it can do is help us take the first steps.  Even if those are initially in the wrong direction, even if they are stumbles off a cliff, they start a process of progress. My friend does not acknowledge that anyone who does not hold himself out to be an expert online is looking for one, looking for an authority to give one some immediate direction. He derides those who are obsessed with clothing enough to look for a resource.  However, today, to develop a personal style, we need to have what most others would think an obsession –the will to learn, to try and to refine.

And we learn through our inevitable failure to divine in advance what at some given moment in middle age will pass for perfection.  I bought these shirts because I loved their flamboyant turquoises and purples and even more flamboyant patterns (the designer pretentiously called it a “double shadowstripe”). I recognize my tastes sprang from a reaction against the oppressive wretchedness that is real true prep during my adolescence. And in a time before Internet experts and long before meeting my friend, my inspirations were novels and films -- the bold stripes and cuts of 1960s films, my Technicolor dream of a Swinging London at a distance of decades.  These shirts with their tight darts, high, shark-fin collars and brazen palette captured all of that for me, my desire to appropriate a little of what I thought was elegant rebellion against convention.

Revelation of true self is not the realization of a beautiful sculpture already imagined within a block of marble.  That’s a pleasant lie.  As in anything else, there is no intelligent design, no incontrovertible style truths inbuilt into our DNA, only ad hoc reactions to the sartorial chaos around us that can sometimes build on each other to better things.  As I prepared to pass these shirts on, I realized that they were an unavoidable stepping stone in my development – that years later I knew more about cloth, construction, and so on, and used all that I’d learned about that and all that I’d learned from owning, enjoying, and feeling gradually more self-conscious in these shirts to have the shirts in the second pictures made.  Unlike the shirts in the first picture, they were made to fit me, not bought off the rack at the risk of looking like an extra from the opening credits of Austin Powers: International Man of Mystery.  The collars, based on what I had come to love about my older shirts, are a bit flamboyantly higher than normal shirt collars, although a lot more restrained than those I used to wear, and slightly rounded at the points – a preference learned over trial and error.  The cuffs are still two-button cuffs, like on those older shirts –  back then I’d thought they just seemed more British and bespoke to me, and today I think that they make for a better fit.  The stripes are a tad more restrained – even if the colors are almost exactly the same as on my older shirts.

In no way could I have moved directly from nascent style seeker to owner of the more restrained, better made, more sophisticated shirts in my second picture.  We gain our personal style as much from what looking back are misadventures as from the lessons we think we learn from others.  And things that we bought during our journey that we might not purchase now still serve, even if in different ways, like the denim shirt I wrote about some time back.  You are your own sum total, and that includes your regrets.

My friend emphasized the importance of gaining confidence to express our innate sartorial knowledge.  In my case, over the last decade and a half, it has been a matter of gaining the confidence to escape other’s notions of propriety – including his.  I still favor the features of the suits I used to dream of back at the time I bought those first shirts.  Back then it was because they seemed especially Savile Row, especially 1960s like the gaudy films I loved (and I know how embarrassing that is to admit): single-breasted two-button suits, slant pockets and double vents… But in my first custom suit orders I restrained myself from asking for a too-colorful suit lining, having read that flashy linings were a sure sign of a novice, an arriviste (as if I have actually arrived) or a ready-to-wear suit masquerading as bespoke.  Recently I had a final fitting on a suit where I finally let myself have a deep violet lining, finally letting myself admire that gorgeous, deep color contrasting against Minnis grey flannel. And today the books of linings my tailors carry are full of violently patterned and colored linings of all sorts, making my indulgent purple now seem positively sober.  We do come around to ourselves, even if the world changes.

The world has indeed changed, and to survive we keep reacting and adapting to it, even if we do not change in the same way. I continue to believe that favoring one item in a particular style, one particular idea of elegance like a nice suit, does not dictate conforming to popular ideas of conservative elegance in other areas, evolve though we may: For 25 years ago I’ve been a fan of Faith No More, first sincerely, then sort-of-ironically in that Gen X way, then as a #dadcore lost soul.  Yet as I finish this, I’m listening to a recent album of covers of 1960s Italian genre movie themes (in particular that of Danger: Diabolik) performed, with orchestral accompaniment, by their lead singer, Mike Patton, and named after another famous cult movie, Mondo Cane. Far afield from Patton’s early work with FNM, or what I initially liked them for, but anyone who knows me can tell nothing could be more in my wheelhouse than this. It feels right (deep, deep down).  It just took a long time to get here.

Perhaps, to my friend, I do not have style.  But I am me.

Quality content, like quality clothing, ages well. This article first appeared on the No Man blog in June 2017.

[ohcaptaintarthister]

The Assassination of Jaime Lannister*

Rant contains spoilers of Season 8 Episode 4 of Game of Thrones. Look away if you haven't seen it.

Right. Here we go.

I did not read the series A Song of Ice and Fire (ASOIAF) until Season 5 of Game of Thrones. Fantasy is not my favorite genre. Besides these books by George RR Martin, the only fantasy novel I've read was The Eyes of the Dragon by Stephen King.

I was drawn to the books because of the show. They're not easy to read. Besides being thick enough to actually hurt someone with it, I read them with zero ideas about the conventions of fantasy, the worldling and so on. I was curious and wanted to see. Also, Season 5 took too long. After a weekend where I binged on Seasons 1 to 4, I needed to know about the books.

The wait for Season 5 was reason one. Curiosity the second. The third was I have fallen in love with Jaime Lannister and Brienne of Tarth. Yes. I was in love with them as a pair. They are my favorite characters.

Back then I had no idea what shipping meant, and what fandoms were. But I knew I had to see if the chemistry of Jaime and Brienne in the show, awesomely played by Nikolaj Coster-Waldau and Gwendoline Christie, resulted from casting and adaptation or if the characters' interactions sizzled in the books. In other words, and this is vocabulary I picked up once I began wading deeper into the fandom, I was curious if it was canon.

And it was!

On their own and together, Jaime and Brienne were written with nuanced complexity. Jaime, especially, seemed sketched to cover the entire spectrum of gray and other unknown shades of it. Readers and show-onlys went from wishing this guy Seven Hells for throwing a ten-year-old child from a window to cheering him on as he found himself, often with great reluctance at first, on a path to redemption. Because Jaime, once separated from his family--the continuing disapproval of his father Tywin because he was nothing more than a glorified bodyguard and the quicksand relationship with twin sister Cersei--was finally free to be a man on his own. It did not matter that he was one of the greatest sword fighters, that he was a Lannister and Kingsguard. Robb Stark's army captured him because he was leading the Lannister armies. He lost his hand for thinking being a Lannister gave him protection and privilege. One-handed and probably still fevered, he jumped into the bear pit to rescue Brienne of Tarth. And before that, he saved her from being raped too.

As all that Jaime had been was gradually stripped away to reveal a man who murdered his king to protect the people yet one who loved his sister without guilt, Brienne was there in the picture of him being rendered anew. Honestly, because of Brienne, I swung to Team Jaime. Possibly with pom-poms too.

But after reading the books and seeing some episodes again, I began to wonder if David Benioff and D.B. Weiss hated the character.

While in the books Jaime said, "The things we do for love" WITH LOATHING, in the show he said the line with a smirk, that throwing a boy out the window was the natural consequence of protecting his affair with Cersei. Maybe Show!Jaime didn't see it as a consequence but something that simply had to be done but without smugness.

Okay, I thought. That was weird but the writers have to know right? They read the books.

When Jaime and Brienne finally have that bath in the show, and how it was adapted as faithfully as possible, I thought the show finally understood him. It was weird that Jaime returned to Cersei before the Purple Wedding but i thought of nothing of it.

Until THAT episode in Season 4.

In the books, the scene above should be when Jaime returned at King's Landing after being captured by Robb Stark and The Brave Companions. The reunion was from Jaime' point of view. Cersei's consent was clear:

"Hurry," she was whispering now, "quickly, quickly, now, do it now, do me now. Jaime Jaime Jaime." Her hands helped guide him. "Yes," Cersei said as he thrust, "my brother, sweet brother, yes, like that, yes, I have you, you’re home now, you're home now, you’re home." She kissed his ear and stroked his short bristly hair." 

In the show, she actually said, "It's not right!" a few times. Also, a few episodes prior to this, we saw Jaime complaining to her that he had been "back for weeks," and wanted to resume their affair. While in the books we saw two people falling in each other's arms after being apart for a long time, and needing each other desperately, in the show we saw rape. Though the claim by Benioff and Weiss was due to "bad editing/lighting" and that it was "unintentional," their refusal to actually address the issue and just re-edit and re-broadcast buried even more Jaime's redemption arc. As a viewer I forgave this mistake. Maybe next season?

Nope. It got worse.

When Jaime and Cersei made love by Joffrey' body in the books, this was the last time the twins would have sex. The books showed Jaime's gradual disillusionment with Cersei--he thought she drank too much, was tired of her scheming. Tyrion also told him about her affairs with other men. So when Jaime went to Riverrun to recover it for the Crown, he was not only the farthest from Cersei again, he was done. Just DONE. Her pleas for him to help her and promises of love end up tossed in the fire.

The show, rather than adapting this, simply diverged. Season 5 was as confused in what to do with Jaime as lots of viewers were. Season 6 saw Jaime and Cersei resume their affair before he left for the Riverlands. Returning to King's Landing in the finale, we saw the chilling look Jaime gave Cersei during her coronation.

Perhaps this was it. This would be when he falls out of love.

HA.

Season 7, until this weekend's episode, was THE WORST ADAPTATION OF JAIME. There. I'm saying it. THE WORST.

Why? It wasn't even the incest that pissed me off. Jaime, who slew the Mad King for wanting to torch King's Landing with wildfyre, did a dizzying 180 by ENABLING his sister, who murdered Queen Margaery, her former fiance, Kevan Lannister and other innocent members of the court by wildfire. Season 7 Jaime simply took Cersei at her word. Forget about Tommen, THEIR LAST SON. Who committed suicide as a result of his wife's murder. Forget about what really caused the Sept explosion. What mattered was creating a dynasty for "the last Lannisters who count."

Jaime stood by her side and in the queen' name, contributed in tearing further apart the Seven Kingdoms. No questions asked. LITERALLY no questions asked. Despite telling Cersei of the danger of her new position, he went on to rant about the lack of allies. That can be read as Jaime being practical but as the season progressed, it was proof that he would be at her side no matter what. No matter who had to be murdered. He DID say he would murder everyone until it was only the two of them left in the world. Alright.

LIoking back on past episodes, Cersei always succeeded in keeping Jaime at her side with promises of going public with their affair. In the books, Jaime pressed her to let people know he was her choice and she refused. In the Season 4 finale, she told him she told Tywin about them, resulting in passionate and this time consensual sex on a table in the White Sword Tower. In Episode 3 of Season 7, after Cersei fucked him to celebrate her victory over the Sand Snakes, we saw a loved up Jaime in the morning after.

This would be the happiest viewers had seen Jaime. Cersei, now really THE Queen of the Seven Kingdoms, would openly fuck him. The scandal reached as far as Eastwatch, with Tormund, wanting to clarify, asking which queen was discussed in a conversation. "The one with the dragons or the one who fucks her brother?"

After Daenerys and her Dothraki army burned the Lannister forces on their way back to King's Landing, a shaken and muddy Jaime returned to Cersei right away. And in the same episode, Cersei revealed she was pregnant again. This was happy news, indeed but Jaime needed to know one thing: who will Cersei acknowledge as the father.

"You."

Now I refuse to think Cersei had once again succeeded in manipulating him. I think she WAS pregnant. There's no way to fake joy like that. And yeah, though I don't ship them, I understood Jaime's happiness. Finally, he would get to be a real father.

Still, still, still. Season 7 Jaime really made no sense. There was none of Book Jaime here. None. What we saw was a guy who supported a tyrant willingly and was now going to be a real daddy. I hate it but that's really Season 7 Jaime. Even when he left Cersei, the reason was a headscratcher.

"I don't believe you," has got to be the worst break-up line because it's lame. Better if Jaime just looked at Cersei with puppy dog eyes and walked away. Really.

The beginning of Season 8 saw the writing of Jaime hitting the right beats. A different man, check. A man who honestly regrets what he did to Bran, check. A man who was no longer the golden lion and ready to fulfill a vow he made, check. Hearteyes at Brienne, check.

He knighted Brienne. BIG, FAT CHECKS.

In episode four, The Last of the Starks, Benioff and Weiss, probably tired from the glare of their computer screens, seemed to have just written the episode in bullet points. It became glaringly obvious they wanted the series over and done with. Fuck decent writing.

Jaime Lannister is not the only one who was badly written in the latest episode. Everyone seemed to have forgotten about Qyburn's ballista and Euron apparently a sharp-shooter. We have no idea how Missandei was captured. That drinking game with Jaime, Brienne, Podrick and Tyrion was awkward and misogynistic--seriously, why shame Brienne for being a virgin?

And Sansa! Sansa basically saying if she had not been raped and abused, she wouldn't be in the position she is now! Who on earth says anything like that? Answer: no one. And I don't mean Arya.

And Missandei. The ONE WOMAN OF COLOR in a blindingly white show is chained and beheaded!

Then Jaime. Oh, Jaime.

There are no happy endings in Game of Thrones. Ned Starks gets beheaded. Jon Snow gets knifed. Sansa is raped. Catelyn, Robb and Talisa get butchered. Just when victory is within reach, characters are punished so cruelly it's inhuman.

But it doesn't mean crappy writing. At fifteen million dollars an episode this season, I expect writing that reflects intelligence. Who cares about CGI wolves and dragons when the writing is shit?

Now it's no longer a question if David Benioff and D.B. Weiss hate Jaime. THEY DO. Everyone else was buffed up or given meat. They couldn't even spare Jaime Lannister a decent-sized bone.

I don't blame Jaime for leaving Brienne. Hear me out.

After Brienne and Sansa tell him the latest developments in King's Landing with regard to Cersei, we see Jaime shocked and even horrified. The next scene, he's in the chambers with Brienne contemplating what to do. And this is where the writing becomes really shitty:

1. He left her without saying goodbye.

2. He LEFT Brienne with her thinking he did it for Cersei.

What was the point of according her the respect and honor of being a knight--done by his own hand? What was the point of telling her he was no longer the fighter he was? Where was the respect when he was going to leave her as a regrettable one night stand? (But Winterfell to King's Landing is a month by land so I assume they've been banging for that long)

Nothing, it's just illogical shit.

Had the writers made just a bit more effort, Jaime Lannister should have been shown experiencing some happiness with Brienne, rather than Tyrion telling the viewers about it. We don't see it. We're just told and have to take their word for it. Jaime could have benefitted too in leaving Brienne in the NEXT episode. Why? It increases the stakes. Just one scene showing Jaime happy, just one, and of him ACTUALLY talking to Brienne about having to leave instead of being found out, and the episode probably won't be as crappy. I don't mind Brienne begging and crying, heartbreaking as that scene is. What I mind is Jaime never being shown what he stands to lose if he leaves Winterfell. Olenna Tyrell, before he he grants her the mercy of taking poison, had warned him it will be too late for him. She's right.

I believe he goes to King's Landing because of the guilt that he began a war to protect Cersei. When he does things for Cersei, the consequences are horrible and far-reaching. Easy to call him dumb and he is. But let's not forget that he charged at Daenerys and Drogon with just a spear thinking to end it all. A spear against a fire-breathing dragon. Like, what are the odds, right?

I'm not going to say anything more about The Bang That Was Promised And Sucked Donkey Balls. Enough has been said, enough hearts have been broken. We KNOW the world of Game of Thrones is dark and bitter and almost without hope. We really do. But as fans of the books and the show, FANS WHO MADE IT POSSIBLE FOR THE SERIES BE RENEWED AND HBO TO INCREASE THE BUDGET EVERY SEASON, all we ask for is good writing. We get that without actual material from George the writing is challenging. WE REALLY DO.

But is it too much to ask for the writers to set aside their hatred for one of the best characters in the series and understand him? Give him the material he deserves in the show? There is none of the Book Jaime trying so hard to be honorable. None. Instead what we've been given, since the first episode, is a train wreck of an adaptation that has now been confirmed as a character assassination.

It's not dragonfyre that has killed Jaime but writing that is careless, hurried and just plain awful. In Benioff and Weiss' determination and delusion in finishing the TV series on a high note, Jaime Lannister has been left with barely a whimper.

*Previously titled, "When Adaptations Assassinate A Character."

[skyfallensoldier]

Mobile Navigation || Rules & Mun ↓

DISCLAIMER: I just want to note here at the beginning that while I am considering this RP blog to be historically based, i.e. remaining true to the time period and overall details of John Laurens' biographical information and whatnot, I do not consider myself a historically accurate blog, not entirely. Historical fiction is a well known genre of literature and many, MANY creative liberties are taken within that genre. Think of this blog like you would if you saw an Anastasia Romanov blog. She's dead, we know she didn't survive, and she's been dead a long-ass time; so has Laurens. People still have included her in many works of fiction, even after her body was identified and it was proven she did not survive her family's massacre. I saw a romance book a couple of months ago where she survived that was recently published. Historical fiction, while a controversial thing at times, is a legitimate form of literature.

You don't have to tell me if you think John isn't acting exactly like the real man himself would have, I know that. I'm not going to call John my 'perfect sunshine boy cinnamon roll' or dismiss the privilege he was raised on due to his father, I'm aware he was a real person who had his own personality, virtues and prejudices. I won't deny that while he was certainly a progressive thinking man for the time he grew up in he definitely still had racist thoughts and actions that were indicative of his upbringing. But I'm not on here to debate modern, real life politics, or get into arguments about whether he was a good abolitionist or not. At the end of the day, this is still a hobby for me, and I'm writing for fun.

Basically, don't take it too seriously. I'm a 21st century bisexual woman writing from the POV of an 18th century (likely gay) male soldier, the way I write him is obviously not going to be a perfect representation of who he was. I know he wasn't an amazing, perfect person, but I've still chosen to write a fictionalized version of him for my own entertainment. Please try to respect that; thank you.

Mun Stuff

Name: Luna Gender: Female (She/Her or They/Them) D.o.B: July 23rd, 1996 Age: 24 Nationality: Canadian Sexuality: Bisexual Timezone: Eastern Time (US & Canada) Activity: Daily BIOGRAPHY (SORT OF)

Hello, there! You can call me Luna! I've been interested in writing ever since I first got the internet when I was 14 and discovered FanFiction.Net and now I'm an aspiring author and Roleplay enthusiast. If you include acting/talking out DnD like games with friends then I've been 'roleplaying' since the fifth grade, but I like to think there's always room for improvement. If you ever want to chat I'd love to make a new friend or plot out a roleplay, so don't be afraid to shoot me an ask or send me a private message. Just because my muse can be a jackass doesn't mean I am! I’m a huge advocate for mental health, and if you ever need someone to talk to, please don’t ever hesitate to reach out! Some of my hobbies including literature and writing (of course), digging into mythology from various cultures, practicing solitary eclectic paganism/new age spirituality, drinking tea, and collecting crystals/minerals.

Please note that for the sake of disclosure, I am considered ‘Neurodivergent’, in that I suffer from ADHD, diagnosed at about age six, and have Anxiety and Depression which are directly tied to it. This doesn’t often effect my life on here, but I sometimes have an unpredictable sleep schedule (stay up all night, sleep in late into the morning, etc). I’m usually quick to reply to threads for the most part! I work every Tuesday and Thursday from 5pm to 7pm in addition to odd jobs here and there, during which time I won’t have access to the Internet. The rest of the week I’m on and off all day basically, so you can feel free to contact me any time.

RP Style

⭐️ Please use basic spelling/grammar/punctuation when you RP with me. I'm not a drill sergeant about these kinds of things, I know that typos happen, and if you have a vision problem or such we can absolutely find a way to work around that, I also have no problem roleplaying with people whose first language is not English, so that's totally fine and I’m happy to accomodate in whatever way I can, but it does make it a little difficult to play with you if I don't know what you're trying to say. For this reason I prefer if you not use any text shorthand (lol, idk, brb, jk, etc) unless our muses are messaging each other. Using it in the tags is fine.

⭐️ I roleplay Laurens in a past-tense 3rd Person Point of View (think story-telling format), and generally I don't use icons or text formatting unless I notice my partner does, then I will try to match their style (for example if you use icons and small-text, I will try to do the same, though because formatting isn't possible on mobile, any mobile replies might take longer to be posted than if I were on my laptop). If you have any issues with how I'm writing or need me to adjust my style for any reason don't be afraid to ask.

Contact

⭐️ If you spam me with messages over and over again about something I haven't replied to, chances are I'll drop the thread. I don't mind being reminded because I know Tumblr's notifications are notoriously unreliable sometimes, and humans can forget/lose things, but if you keep poking at me after I've acknowledged you the first and second time, I won't be pleased. Things can get busy on here, or in real life, or sometimes you're just lacking muse for that particular thread, y'know? It doesn't mean I hate you and don't want to RP, I'm almost always up for plotting, but muse tends to fluctuate.

⭐️ My ‘Discord’ is available to mutuals upon request. I don't mind roleplaying on there if Tumblr is being glitchy or you're just not feeling up to formatted/heavily plotted threads, sometimes Discord is fun in that you can do immediate replies without needing the effort of putting icons and formatting into it. I also have a Kik but I never use it. I don't RP in Tumblr's IMs, that's purely for OOC interaction.

⭐️ I also occasionally stream movies/TV shows in group chats or play “in character” Cards Against Humanity game nights, Among Us, etc. If you’re interested, lemme know, I’m always looking for more people to hang out with!

Important

I have no actual triggers that I'm aware of, although snakes do creep me out (mostly shots of them coiled up or images of their pupils), but there are some things I will not roleplay personally for comfort reasons:

⭐️ Cannibalism. You can mention it, for example I won't freak out if someone tells my muse that somebody else ate a person (he might, assuming its not a Supernatural type verse), but I won't RP him engaging in cannibalism, not even in AUs (blood-drinking vampires are fine). I'm just not sure I could stomach writing about eating people. I managed to watch Hannibal, barely, but writing about it? Nah. I can handle lots of horror, gore and disturbing content but not this. Sorry.

⭐ Incest/Pedophilia. I do not SEXUALLY ship with characters under the age of 18. John is not attracted to children, and would never consider sleeping with someone much younger than him.

⭐ I will not write anything sexual with muns who are under 18 years old, even if your muse is an adult. I'll still ROLEPLAY with you if you are under 18 but probably no younger than 16 just because things tend to get explicit on my blogs and I don't want to be accused of corrupting the youth with my foul language and weird opinions, lol. Seriously though, this blog covers a lot of dark subjects and while I’m all for minors exploring that safely through writing rather than in real life, some people aren’t comfortable with interacting with under age people for legal or personal reasons, please respect that.

⭐ Necrophilia. Just... no. Vampire threads don't count, as they're undead and not 'dead dead'.

⭐ Rape. I won't write it with you. I'm okay with mentions of rape, with rape/sexual assault survivor/recovery plots, and even with one character intervening to rescue another from an attempted sexual assault (if an attempted assault does occur, it will be thoroughly tagged and under a cut). I'm fully open to discussing rape recovery/trauma plots as those are things that happen in real life, and it can be interesting to explore how a character reacts to trauma. But anything else is a no-go, sorry!

⭐ Please be aware that I write Laurens as a gay man. However! Because of the time period, violent homophobia and social stigma, he has slept with women before and may be seen flirting with or referencing relationships with women in the past. He is still gay, and still uninterested in being with women long term, he's simply closeted to all but a few individuals. So, unless your muse is Martha Manning (who Laurens DOES love in a manner, and he always will), shipping with female characters on here most likely isn't going to happen unless it's heavily plotted/developed and part of an overall plot, and you understand that it will not be a conventional sexual relationship. I'm sorry if that disappoints you but I've read Laurens as a gay male for so long I have trouble seeing him any other way.

⭐ I will not roleplay slavery plots. This is not up for debate. Roleplaying a highly fictionalized version of a long dead real person who existed during a troubling time is one thing, but I draw the line at that. For this reason, while I'll happily play with non-white muses, muses using non white faceclaims, and crossovers with characters of all sorts, I'll have to decline playing with any muse claiming to actually be writing slavery. There’s a difference between, say, roleplaying a character like Daenerys, a fictional character who was technically a slave-bride sold by her brother, and writing actual slavery from a very real, horrible time period. Slave ownership will of course be mentioned on this blog, that's unavoidable, but just like the mention of rape may happen on this blog from time to time, it will be in reference to a past event or speaking about the subject in general, not roleplaying a scene of it. Please respect this rule, I was hesitant to make this blog at first, because I know it makes some people uncomfortable, but I won't glorify such a horrible real thing that happened to so many people.

Exclusives/Mains

Just a head's up, unless I develop a bunch of chemistry with a particular portrayal of a muse I'm not likely to agree to being exclusives with anyone, unless perhaps it's a very niche or divergent character that has formed a good relationship of some sort with John and I'd have trouble interacting with other versions of that muse. For major characters I just feel it would be unfair to say no to someone who I click with in every other way, solely because I have already befriended someone else writing that character.

I will, however, discuss becoming mains with someone whom I've either developed or plotted out detailed storylines/interactions with regarding our specific portrayals of our characters. This means that I tend to reply to them quickly when I'm online, or may make little gifts (moodboards, aesthetic things, mini ficlets, whatever) for them unprompted, have a verse dedicated just to them, etc. Even if it seems like we haven't done much on Tumblr, there may be a lot of off-site development on Discord or whatnot that led to us plotting out intricate stories for our muses.

Current Mains:

Alexander Hamilton - @quillborn​

DO

⭐️ Send private messages.

⭐️ Send my character asks/starters/memes.

⭐️ Tag me in things.

⭐️ Ask to plot or ship.

⭐️ Ask for angst, fluff, etc.

⭐️ Submit things to me & my muse.

⭐️ Do crack and other ridiculous things with me!

⭐️ Like my RP threads.

⭐️ Like my personal posts.

⭐️ Comment on my personal/OOC posts (if you want to).

⭐️ Comment on my crack threads.

⭐️ Instant Message (IM) me if you'd like to talk, whether we're friends already or not!

DON'T

⭐️ Send hateful messages to me about other people and especially my mutuals; doesn't count if it's about the muse and not the person playing them, however. Also, if I’ve got beef with someone for whatever reason, don’t harass them/send hate to them on my behalf, please. I don’t condone anonymous abuse, attacking others, or harassment. I’m a big girl and I can take care of myself, I promise.

⭐️ Introduce yourself with ‘wanna ship?’ For one, I prefer if we’ve at least started a roleplay together, or have spoken OOC. Auto shipping doesn’t always work out and I hate promising people something only to realize there’s zero chemistry, because then I feel like I’m letting them down.

⭐️ Come into my inbox with just ‘wanna rp?’ and that’s it. Please at least have some idea of what you want to roleplay, it’s not very fun when someone approaches you to RP but then doesn’t offer up any suggestions at all. Remember, you are always free to send me memes, whether we’re mutuals or not, and hit me up for whatever plot you think might interest me! I want to hear about it!

⭐️ Spam me with "reminder" messages if I've already acknowledged you the first few times.

⭐️ Reblog my RP threads if you're not a participant in them.

⭐️ Send me anonymous OOC hate. Hate for Laurens is fine, it's just another form of roleplay.

⭐️ Kill off my character or severely injure/maim my character without permission or having plotted something involving that with me first.

⭐️ Follow me if you're a porn blog. I don't mind blogs that post NSFW content, or smut a lot, etc. I mean blogs that aren't for RP and are literally just a normal looking blog until you click on it and the header and first twenty posts are hardcore nudity and porn. I hate those things.

⭐️ Shame my ships.

⭐️ Complain about my tagging. I put my smut under a 'read more' without exception and tag them as "NSFW //" with two dashes. Things that are not necessarily graphic but still have sexual undertones go under "Suggestive //". I use these tags to avoid attracting attention from porn blogs and porn bots that track certain key words, as such I do not tag my content with "Smut" or trigger words such as "dick, oral, anal, nudity, etc", please block my NSFW and Suggestive tags if you're uncomfortable. Triggery subjects (mentions of rape, animal abuse, torture, mental illness) will be tagged under the name of said trigger with a space and two dashes, example: "Self Harm //", “Suicidal Ideation //” or "PTSD //".

⭐️ Godmod my character. If you’re not sure what is/isn’t okay, come talk to me! I don’t bite! If you’re looking for an example of god mod behavior, here: “X lunged at Laurens, taking him by surprise, and hit him square in the nose, causing blood to spurt.” It might not seem like a big deal but it means that you decided how your character’s actions affected my muse, and not only that, didn’t give him a chance to dodge or anything. Not cool.

⭐️ Ship with me without permission (sending in shippy asks is A-Ok if you're interested in exploring a ship between our muses, I'm talking about things like claiming that our muses are in a relationship without discussing it with me, referencing dates or sexual acts that never happened, etc. I ship mainly with chemistry otherwise things get boring fast.

⭐️ Assume/act like our characters know each other/are closely connected (friends/family/lovers) if we've never discussed it unless it is established in canon/history. This especially goes for original characters. I'm open to Laurens forming deep relationships with OCs obviously, but those have to be developed in character, not just assumed from the first interaction.

⭐️ Attempt to roleplay with me if you are not a roleplay blog/or if you're just trying to RP as "yourself." I don't do Character X Reader imagines stuff. I don't RP with 'fan' accounts, only RP blogs. You can still send asks so long as you're not trying to initiate an RP scenario. For example, asking Laurens what his hobbies are, asking for a blessing etc? That's fine. Spamming me with different actions "you" are talking to Laurens is weird. Stop that. I will also not RP with blogs that claim to roleplay as real life people, such as Markiplier, that's super creepy. This does NOT apply to "historical fiction" roleplay (obviously since that's what this blog is), which is considered its own genre of literature. I'm talking about the above where people will 'roleplay' as real life, currently alive people like YouTube celebrities and ship them with their friends, even if they've made it clear that they're uncomfortable with it. 

⭐️ Get angry at me for doing something you don't like if you don't even have a rules page for me to go by. It's not fair; you can't expect your partners to just read your mind and magically know how you feel. If something bothers you let me know, I’ll make a note about it so I avoid it during our interactions!

⭐️ Use me as a meme resource blog without ever interacting with me. I don't require "reblog karma" for you to follow me, partners are more than welcome to reblog from me, but if we never interact and I just occasionally see you reblog fifteen posts from my meme tag and then disappear again I'm not gonna be happy. Go to the source or to an archived blog no longer getting notifications, please!

⭐️ Reblog my Meta/Headcanons. If they're from a different blog it's fine but the ones I've personally written are for MY portrayal of Laurens. I work hard on most of my stuff and I'd prefer if you didn't reblog it, not because you aren't allowed to have the same headcanon ideas as me, but because then it ends up getting liked or reblogged by lots of other people, spamming my notifications, etc.

OCs & Multimuses

I love OCs and multi-muse blogs (I have my own multimuse sideblog over at @historyremembers, which has other 18th century characters including the Hamilton children and some OCs), so feel free to interact! That being said, please have an about page of some sort on your blog. I can't follow back blogs that have absolutely no information available regarding their character(s). I don't RP with OC children of Laurens. This is nothing personal, but I'm fairly certain he was gay in real life and prefer to play him that way, and he only had one child - who he never even got to meet - in real life, so it just wouldn't make sense to me for him to have other kids running around unless he'd adopted some. If you're a multimuse, I may not follow you back if I'm only familiar with two of your muses if you have a blog of fifteen characters, simply because I'd prefer to keep my dash clean and only have characters/fandoms I'm familiar with on it. I'll still RP with you if you have a character I'm interested in! I just might not follow back if the majority of your characters I do not know, I apologize for this.

If you’ve made it to the end of this, congrats! I know it couldn’t be easy (my ADHD brain was frustrated trying to just write all this up) but it’s necessary so there’s not misunderstandings on what I am/am not willing to RP. I won’t ask for a password since I trust most people to have the courtesy to at least skim the rules of those they want to RP with. 

Have a nice day!

[thecloserkin]

book review: Carolyn Slaughter, Relations (1976)

Genre: Gothic psychological suspense

Is it the main pairing: yes

Is it canon: yes

Is it explicit: yes

Is it endgame: no

Is it shippable: yes

Bottom line: I read this concurrently with Wuthering Heights and allow me to play sommelier—10/10 recommend this wine pairing for maximum gothic extraness. tw: suicide

There’s boatloads of sex but this is not a horny story. It’s a lyrical story—in the sense of expressing direct, spontaneous feeling. Not that a story couldn’t be both (Wuthering Heights is both horny and lyrical) but I actually want to spend a minute defending this book to my past self. The first time I read it, I was unimpressed because Relations wasn’t much of a Love Story. You know the kind I’m talking about, you know the beats you’d expect it to hit: here is a pair of siblings tOrMeNtEd by their iLLiCiT pAsSiOn!!! I mean, the mode isn’t always tragic or dark but even the cream-puff versions of this arc entail some sort of line being crossed or feelings being caught. We are used to characters who begin in initial-state, a journey brings them to end-state and a clear delta separates the two conditions. This book says: fuck that. Fuck change. Fuck growth. My best days are behind me and I’m ok with that because now my brother is lost to me and I give zero fucks about anything else. We have a novel steeped in the symbolism of winter (the season of loss & deadness that is impermeable to change). Our pregnant heroine dreads her impending due date, in part because the child is not her beloved brother’s; but mostly because having a baby is just about the biggest change a body can be subjected to, and she’s actively averse to change. All she wants is her brother back. If you’re looking for characters to fall in love, as in transition from feeling one way to feeling another way, this is most likely not the book for you. But I enjoyed it a whole helluva lot and let me tell you why.

The predominant note of this story is MELANCHOLY. It’s backwards-looking rather than forward-looking, things just keep getting worse and worse for our protagonist and yet she’s unapologetic about what she did: she loved her brother, loves him still and always will. What I admire is that she is steadfast in the face of remorseless despair. Compare these quotes, this one from near the beginning: “I feel listless, often close to tears. I am beset by fiendish pangs.” This is from near the end: “I am hollow, clanging with emptiness; there is no solution.” Do you see what I mean by no delta between initial-state and end-state? I think there is an important distinction between this book and Forbidden, which holds out the promise of a happy ending only to snatch it away at the last minute, in that Relations puts its cards on the table & promises no such thing. It’s melancholy all the way down (well, three-quarters of the way down it transpires this book is in fact a high-concept Folgercest prequel I SHIT YOU NOT friends read it yourself).

In the novel’s present, our girl Catherine is entombed in a emotionally sterile marriage; in the past she grows up warmed by the sun of her brother Christopher’s regard & affection. Slaughter chooses to locate these strands at two crucial points in Cathy’s development—age ten (prepubescent) and age thirty (the age at which women’s “biological clocks” start ticking—this is relevant because Slaughter is writing in the 1970s even if Cathy is living in the late Victorian Era). We should note here that Christopher is older than Catherine by two years, aka the universally acknowledged INCEST SWEET SPOT (I know some of you favor twincest but you are WRONG and I will prove it in my forthcoming monograph on the topic). At age ten, Cathy and Christopher have intercourse for the first time after stumbling on their father’s secret porn stash. The sex is more mechanical than enjoyable, and that’s the point: they start banging out of curiosity, keep banging out of habit, and only later do hormones and feelings kick in. Ten- and twelve-year-olds just don’t get horny the way older kids do, and that is, again, the entire point. Slaughter structures it so the sex happens first (in the very first flashback chapter). The feelings don’t follow, the feelings don’t emerge, the feelings were there all along. What the sex does is seal a secret between the two of them, the secret of their father’s porn stash (hidden in an abandoned wing of the house).

If we turn back to the present, we find Catherine yoked to a man who excites zero feelings in her. By her own admission she married him because “I found him pleasant to listen to and he never made any demands upon me.”These are the qualities that recommend a husband to her—that he impose no psychic demands whatsoever! All her energies are already absorbed in reminiscence lol. We find out he proposed to her with a speech worthy of Pride & Prejudice’s Mr. Collins, and that he possesses not a particle of passion. Which is exactly how Cathy wanted it:

I entered the marriage in a state of apathy; simply undergoing it because of Mamma’s pressure, and because there seemed no other real alternative apart from marriage open to me.

We were married in the winter of my thirtieth year.

I walked down the aisle in a state of complete inertia, my sense muffled by the laudanum … I wished with all my heart he could have been my brother.

File away that glancing reference to winter; more on that later. For now please focus on how numb she is—not discontent, just apathetic. Cathy insists the present brings her nothing but pain and insists she doesn’t regret the choices that brought her here. She’s unrepentant about loving Chris, and explicitly rejects the conventional moral framing that would view her past self as “sinning” and her present self as “redeemed”:

I could not rid myself of the old and over-riding passion of my childhood. I decided eventually that no one would ever, could ever, be what my brother had been to me.

If I could have felt then, and now, that there was some evil in what we did, then I could have borne it. But I could find no evil in it.

I would not be so oppressed if I could but feel my past was wicked and scandalous. If I believed that, i could gladly submit to the institution or the grave. But some buoyant spirit within me keeps insisting that what I had was fine, and contained elements of true beauty.

“The institution or the grave,” she says. Those are the choices. If you want to have Thoughts and Feelings and not just a Body, then your lot as a woman is to end up either in a sanitarium or dead in childbed. Only when she looks back at her childhood does Cathy perceive a time when it was different, when Christopher, at least, saw her as a whole-ass person. Yes, this is another entry in dr. thecloserkin’s ongoing “Incest vs. the Patriarchy” series; if you guys thought I was going to stay off my bullshit for more than ten minutes then joke’s on you hahaha. Here are some quotes that show she was getting her emotional needs met as a child (she’s borderline suicidal as an adult):

leaves me with only the memory of such complete intimacy. It is beyond my reach now, and perhaps I shall never agin recapture it though I live to be ninety.

there was no discord in our interests and desires.

We talked all the time. We never ran out of conversation; I never grew tired of his speech.

It never occurred to me…that we would not always be together. There seemed no need for anyone else—he filled out my present and my past.

Ok so if everything was so idyllic back then what the heck happened? How did it all fall apart? Slaughter withholds the crucial revelatory scene until close to the end, but the story up till then is permeated by a very Gothic sense of creeping dread. The elephant on the horizon is change. Cathy and Chris are on the precipice of puberty, which portends seismic changes in their bodies, and the accompanying changes in their roles as they inch toward adulthood. Cathy doesn’t handle it well:

the old fear. A fear of things changing; of his face looking at me in an unfamiliar way; of our world altering and growing cold about me.

There seemed no question why it should not always continue in this way, and no reason why our bodies or our minds should change or suddenly not fit.

Our life became a little cloister: and I never wanted to leave it. The idea of change haunted me.

I was insisting, always, like a child, the nothing must change; nothing must happen to destroy our life together.

And here is where I connect her fear of change with her favorite season, winter:

I was afraid of change. It seemed menacing. I realized the sadness and bleakness of the winter really suited my nature best. It made me feel more real; sadness now seemed more real than happiness; more permanent, and therefore easier to bear.

the seasons change and find me the same. Nothing touches me, nothing makes me laugh or weep. I have no real substance.

OMG SHE’S A FUCKING REVENANT

”You are so thin. Your limbs are slim as these winter branches.”

I have touched my roots, my beginnings, the things that have formed me.

This book is an anti-change pro-winter manifesto. Winter is the season of desolation, where nothing grows, and if there is one change she adjures above all others it’s the life presently taking root within her womb:

If I am a seed about to burst, if I am to flower, the old seed, my Self, must die. Some new thing will grow out of me; but I must perish. I cannot have it; I cannot allow it to happen. I must protect myself from this that would devour me.

My body continued to change according to its own will, nothing could shift the determined embryo within me … I cannot bear the thought of this thing growing within me, living off my blood … I feel nothing but doom, and a great fear if this shall finally come to pass.

The progress of her pregnancy is literally making her mentally ill. I want to link this horror imagery to child!Cathy’s musings on the decomposition of her father’s corpse:

I wondered if all the flesh had fallen off by this time. I imagined his bones growing into the wood of the coffin, and the trees growing into his skull, the roots twisting around his rotting limbs.

People who read this passage and think “this is a really tight horror aesthetic but what is it doing in the middle of my luscious love story” are missing the point. This is a horror story. But instead of framing the incest as the impure act that violates and threatens our accepted categories, we are invited to view the pregnancy as a gross & unnatural hijacking of Cathy’s body. Her body’s fecundity defeats and puzzles her. She actually tells us about her nightmare wedding before she tells us about her real wedding; in her nightmare she looks at her bridegroom and:

transfixed with horror because he is without the male member — all that resides in the space between his thighs is a burnt-out stub—like the hacked branch of a tree deadened and blacked by many winters.

So far we’ve had body horror associated with (1) her father (2) her husband (3) her unborn baby. Notice who’s not on this list? Notice who she always thinks of with tenderness? Notice who doesn’t ever evoke an iota of fear or horror in Cathy? That’s right! Her brother. The whole incestuous affair is really an own-goal on patriarchy’s part, because the same doctor who warns Cathy’s mother against Cathy’s “wild and unnatural attachment to her brother” goes on to say:

Little girls, Madam, are the scourge of the earth. They have no future, but to grow into that unhealthy state of womanhood, with its unclean festerings and grotesque swellings of the abdomen. I would that little girls could always stay the pure young things they are before the age of eight.

This is some next-level IT WAS EVE’S FAULT SHE ATE THE APPLE spin. Can you blame Cathy for taking this venerable authority figure at his word, and staying “pure” by staying a child, by warding off womanhood and childbearing altogether? goodforher.jpg

Real quick here are some lighthearted episodes from their childhood since it’s not all doom and gloom: Christopher marches next door to confront the Frenchman who is maybe sleeping with their mom and is definitely perving on Cathy. Christopher returns the Frenchman’s gift of silk stockings with a grand declaration of “My sister Catherine has no need for these.” That’s right shut him down Chris!!! Also: Cathy falls into a frozen pond and Christopher rescues her. Their negligent mother blames Christopher. Cathy is shaking with pneumonia and all she wants to do is “make the sad look leave my brother’s sweet face.” Christopher refuses to leave her side until she rallies from the fever. He is thirteen:

I think that Christopher and I half-died together in that terrible week, and afterward, when the terror had passed, we were never quite the children we had been before.

Congrats kids you have undertaken a symbolic journey to the underworld!!!! Good job.

SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS

It wouldn’t be a real incest story without a third sibling, an odd-man-out who helps us triangulate our main pairing’s relationship. Edward is a sociopath and a bully. Parents playing favorites always wreaks havoc with children’s sense of self-worth, but I think in this case it’s 90% down to Edward just being a bad egg (fwiw their father, when he was alive, did favor Christopher). Edward is a peripheral figure for most of their childhood; he appears only to “bang on our door to tell us to be silent for our giggling kept him awake.” That’s right, our door—teenage Catherine and Christopher share not just a room but a bed (!). Edward resurfaces as an adult to beg for Catherine’s intercession with his wife. He married an heiress, and now he seems to have soured on her. He talks about her “malady” and her “hysterical nonsense.” She has “phantom confinements.” They are “phantom” because she is barren. Sir you are literally a Victorian dude named Edward who keeps his mad wife locked up in the attic, you can sit allllll the way down. A heavily pregnant Catherine rolls up to Edward’s house just in time to witness his wife’s suicide: ”I had to make sure there was nothing inside me,” explains the poor woman, lying in a pool of blood after cutting her abdomen open with a knife. This seems fine. This whole society seems fine, right? Catherine reflects: “Ill-health or madness was her only solution, married as she was to a man who so complacently felt himself her superior” and “We are sepulchered alive in this close world, and want more room.” If this applies to her sister-in-law’s tragic fate it applies with equal force to her own situation. Cathy may not be physically barren but her inner life is empty af.

I’m going to talk about the breakup now. The climax of this book is the last time Cathy and Chris have sex. Contrast the arc of many slow-burn stories where the climax is the first time the main pairing has sex. Cathy’s menses doesn’t even arrive until after the incestuous affair is over! And what precipitates the breakup? Well, their mother decides to take the family on a seaside vacation. This is the summer when everything changes (Cathy’s favorite season is winter, and she abhors change). As for what changes, exactly, it’s kind of unclear? Wasn’t like they got caught having beach sex (which they had a ton of). The forces of change are wholly internal. They’re growing up. They’re waking up to the existence of social taboos that will brand their love “unnatural” & worse. As readers we can see that Catherine and Christopher’s attachment is as natural as breathing, and it’s actually the Incest Is Icky crowd that’s drawing harmful artificial boundaries. What happens is there’s a local girl who has obvious designs on Chris. She’s a nonentity but the mere existence of someone outside of Catherine and Christopher, someone who views one of them as an object of sexual desire, sort of punctures the bubble they’ve hitherto been living in. They can’t pretend society doesn’t exist or that what they’re doing isn’t immoral by its lights:

”We have never felt bad before. It just happened and there was no harm in it. I see no harm in it now—I cannot feel suddenly that it is wrong … but even if it is, why does it signify? Nobody knows.” ”Yes, but why does nobody know? It must be because we have deliberately tried to hide it?”

Christopher is the one who unilaterally decides that incest is wrongdirtybad and it has to end. Christopher is the one who seeks out Rando Local Girl and fucks her just to prove how serious he is about ending it with Cathy, which imo was inflicting a pointlessly cruel injury for no reason?? Wtf Chris I thought you were one of the good ones. What I love about Cathy is the steadfastness of her conviction—she accepts Christopher’s decision but she is far from convinced by his reasoning, his deference to social norms. Here’s Cathy’s take: “it seems to me that to live in a way that is contrary to one’s own nature, to live in a way that is false, that is the evil. The discontent grows like a cancer.” Authenticity ought to count for something, no? But these kids and their beautiful love are ultimately outmatched by, and broken by, the weight of social mores:

I could not bear to think of anything changing. I wanted it to stay the same dear way it had always been; ever since I could remember … but the spell was broken; we could not pretend any more. We had to stop being children. “Please. Once more.”

And that’s the breakup scene. It’s devastating. Cathy keeps staring at this one beauty mark on Christopher’s familiar well-loved face and she’s crying and I’m crying too. Recall that they’re still sharing a room/a bed up to this point? “The first night alone was the worst,” says Cathy. Imagine losing the person who is your whole world….overnight. Oof. There’s a time-jump of a few years, and Chris announces he’s off to—I think South Africa? I think this is around the time of the Boer War? I didn’t make any detailed notes and I’ll be damned if I’m going to fish for my copy of the book just to confirm what we already know, that it’s the 1800’s and the sun never set on the British Empire:

”I must get away from here and see something different; begin again…I cannot imagine a day without your face, or your sweet companionship. I do love you. But this must be for the best.”

Christopher goes off to doing colonial-settler stuff, initially. Here’s his first letter home:

I want you to be happy and grow up straight without me.

As opposed to growing up crooked, or growing up gay?? Here are subsequent letters where he seems to have done a complete 180:

thought it would be simpler to be away from you, from the constant temptation. It is not. My nightmares terrify me, they are eating my brain. I don’t know how long this can last.

AND THEN he writes he’ll be coming home for Christmas! I must’ve missed the memo where this story turns into a straight-up Folgers fic but that’s about where we are. It’s literally Folgercest. He goes to Africa explicitly to get away from her. Time and distance cannot suppress their feelings. He comes home to find her still waiting for him:

”Why have you clung to me, or rather the memory of me. For surely the memory is better than this twisted, pathetic creature before you?” “I have found no one better,” I said simply.

Asdfdfkdfjd this reunion scene is heartbreaking bc Christopher and Catherine are barely five minutes in each other’s company before Edward intrudes, claims to have found them in a compromising position, claims to have suspected all along about the incest, almost comes to blows with Christopher, tells him to get out. And Chris does. Cathy doesn’t even get to say goodbye. Edward’s presence is so clearly a case of entrapment—he was expecting Chris to come to her, he was expecting to catch them doing something “inappropriate” even though it sounds like they were only embracing—that there is no doubt in my mind Edward’s intent was to hurt Cathy and Chris, rather than to protect Cathy’s reputation or whatever bullshit he was spouting. We have seen from Edward’s abuse of his wife that he is no kind of moral authority. He does, however, succeed in “making me feel unclean, and dirt was attaching itself to me with every foul word he said.” In this scene Edward is handy synecdoche for patriarchy, which berates Cathy with accusations of sinfulness while actively stifling her every creative impulse and intellectual endeavor. If this book has a villain (and I don’t think it does; it’s not that kind of book) Edward is it. I find that edifying. It’s not Cathy’s husband who’s the primary antagonist standing in the way of her self-actualization—the husband is no more than an empty suit—it’s her other brother. One brother saves her and the other damns her.

After Edward runs Chris off and Chris goes back to Africa there are a few more letters, including this one: “that nothing has changed in my heart. That I love you with the passion of our youth, with the strength of all these long, long years.” Thank you for the affirmation Chris! I needed it even if Cathy didn’t. But the war is ramping up and Chris is headed into a combat zone and the odds of his survival do not look good. Cathy is already preparing to grieve him. She’s also preparing to go into labor any day now. These two threads, her brother’s impending death and her child’s impending birth, merge in the final pages of the book where Cathy is just clearly SO OVER IT:

I have nothing to fight, yet the waiting is most terrible … I have nothing to do but wait. I have nothing to leave.

It is hard to go on. How can I escape this life, this round of boredom and other births? O, that I could be ten and happy!

That’s the end but come on. Raise your hand if you don’t think this girl will 100% yeet herself into the sea and they’ll rule it “postpartum depression”? Anybody? No?

[itsclydebitches]

(1) Rawb has compassion that's for sure. Man the fact that for 6 years now he would make shows and stream on Christmas day, all because he had lonely fans who he knew needed that, is amazing to me. I just like seeing someone actually focusing on empowering the younger generation of creators and he as has 12 years of experience doing this so he's qualified for that. He' using his statues of influencer responsibly. Plus giving advice on how not to act like his like his toxic younger self.

It’s definitely a challenging question to answer. Not simply because “How do we get students interested in material?” is pretty much THE concern of every teacher out there, whether it’s because they’re truly passionate about their subject and want to create as much engagement as possible, or because they’re practical and want to fill as many seats as possible, keeping their departments funded and their salary paid. It amounts to the same. More than just the acknowledgement of, “This is an ongoing question everyone is struggling with as technology/interests change” we need to remember that most teachers don’t have nearly as much control over their material as many students assume. Not unless they work at an open-minded university, have tenure as a safety net, have the leeway to teach things outside of GE requirements, have the funding and access to certain resources, etc. If, for example, I decide I want to teach my students video games it’s not enough to just get my syllabus approved by the department---a potential hurdle in and of itself, depending on where you teach. Students need to access primary texts, which in this case is much harder to achieve than just telling them to buy books (and we all know that the cost of “just” buying books is an ongoing problem as well). Does this student own an XBox, Wii, Nintendo, etc? Can’t exactly ask them to buy one for a single class. Does the school have video game platforms as a resource? Perhaps so, but it’s a hassle for the student to come to campus, get permission to access this resource, sit in a public space, and play the very limited number of games the school has on file for an amount of time that allows for even halfway decent analysis. That’s not really conducive to a good experience. Or learning. So then how about we limit the games to laptops? Everyone has a laptop nowadays. Well, not actually, but let’s take a gamble and hope. Can we play this game? Nope. It’s PC only and plenty of people own Macs. So we’ll limit the corpus further. How about this game? Great... but it also costs $40. Will the school give me money to pay for the primary texts myself? No they will not. So that’s not a great investment when you need to assign 6-10 games across the course of the semester. The students would be dropping a small fortune and none too pleased about it. 

All of which is the precise sort of thinking I had to do, weeks before the class was held with very little idea of what was available to me and no idea who would be in my class/what resources they had access to/what they were willing to acquire.To say nothing of the hundred other questions like, “Is it worth engaging with this game for a week when it’s meant to be played for 200 hours?” Or “Is a media-heavy class truly accessible?” (I had to completely re-work one visually-heavy class when I learned a week before the class started that one student was blind.) Or “Does limiting the syllabus in this way even result in a satisfying, educational experience?” A lot of the feedback I received was akin to, “Hey, why did we play this game instead of this one way more representative of the genre we were discussing?” and the answers kept coming back to, “Because this game exists on dual platforms, was $50 cheaper, and had chaptered gameplay I could easily assign. I can’t just tell you all to play for an hour because then everyone will have had a wildly different experience, especially when considering skill level. There has to be set division akin to assigning page length because that’s how school functions.” Obviously incorporating media interests isn’t always this complicated, but it does help demonstrate why seemingly simple questions like, “Why don’t more teachers include video games? People love them and it would get everyone engaged!” aren’t actually simple at all. It does get people engaged... if you can pull it off. 

Regarding incorporating other aspects, I (like many) usually fall back on creative projects. I haven’t exactly figured out a fun way to teach MLA citations yet because some information just needs to be presented without complications, but other assignments can come with more freedom. Try re-writing this story as a series of tweets. We’re talking linguistics this week, so go analyze the specifics of Discord conversations. I was just speaking to a colleague about how fandom praises AO3′s tagging system and bemoans the fact that this doesn’t exist for mainstream fiction. We were working through the potential usefulness (and fun) of asking students to tag whatever it is they’re reading in class, encouraging formal categorization as well as free-form reflections. Ultimately though, a group of 24 students are far more likely to come up with cool ways of engaging on their own if they’re given the freedom to explore and the courage to do so. I prefer to keep things broad then, knowing that with a bit of encouragement students will find a way to connect that broad topic back to their own interests. Many students do, for example, find the topic of gender incredibly boring, if not stupid or even something they’re really resistant to... but a lot of them are athletes and, with a little nudge, start questioning why the pro they look up to isn’t paid as much as another, or why this particular sport is still segregated by sex when their own experiences suggest it shouldn’t be. Suddenly they’re giving presentations about something they’re passionate about---that also fits the assignment requirements---and talking about their pro’s latest Instagram post---that’s also now cited properly. It’s about finding a balance. Some information/classes will always just be boring. It’s inevitable, especially when one considers the basic fact that what’s fascinating to one person is going to be dull as hell to another. But to my mind the more instructors who are at least taking small steps to implement the things their students are engaged with outside the classroom (What if I encourage them to take pictures of the PowerPoint and google new terms instead of just banning phones?) and the more students who have guided freedom in the classroom (What if I acknowledge that academic writing conventions can be very limiting, so let’s compromise by you learning the rules for future use but I also encourage you to break those rules here if you have good reason?) the better.