#additionally for my even more faves who read this far

[kaeyachi]

So...I finished the Arlecchino story quest...

Spoilers below!

TW: Mentions of Suicide, Child Experimentation, Child Abuse, and Murder/Death

This is, by far, the best story quest I have ever done!

First of all, CHILDE?! CHILDE ESCAPING HIS PERSONAL AMBULANCE TO SNEZHNAYA JUST TO COME BACK TO FONTAINE TO ASK SKIRK A QUESTION? Bro is so funny, please-

please save him.

Wait, actually, yeah please do save him. Pulcinella and Pantalone are both plotting in the background, and they got Childe involved...

I also loved the children! Look at how terrifying they are! They're my absolute faves!!

Lyney cementing the reason as to why Arlecchino chose him as the next King is wonderful to see as well. For some time, I thought Freminet and Lynette had a shot, even with reading their lore. What I have failed to realize is that Lyney really is the inspiration for all of the people in the House of the Hearth. His frustrated and disappointed spiel about Freminet not trusting him with Clervie struck me to the heart. This is an older brother at work here people!

Also if I had a nickel every time a cryo younger brother hid a dangerous secret from his pyro older brother which got them into an argument once the truth came out, I'd have 2 nickels ✌️ (somehow gave me war flashbacks to a scene that doesn't even exist lmao)

LYNETTE IS THE FUNNIEST SIBLING BTW. SHE'S MY QUEEN FOR THIS.

Clervie! Our dearest! I'm not fully sure what part in her design did it, but she barely looks like an NPC somehow. Like, yes, this is still an NPC base model, but... is it perhaps the hair? And the extra lashes??

Also, her calling Arlecchino "Perrie" made me sob. I wasn't ready to hear nicknames!!

The mention of Snezhnayan auroras also made me sob again as well. You know what? This entire thing made me sob.

Clervie's dread and horror at the thought of her own mother, her unrelenting spirit that kept her going in her fight for her fellow peers freedom despite the abuse that she will receive, and her unfulfilled dreams repeatedly being mentioned throughout this quest was heartbreaking.

I do have to say- the animations they released for Arlecchino helped a lot with the emotions we are supposed to feel for this quest. Not only was that good Advertising and promotion for the Arlecchino banner, it also set up the plot that would have not been well presented ingame had they chose to do that instead.

Crucabena and Clervie part of this quest were not the only ones mentioned in this quest, but also that damn dude that she killed with her heels! I personally like the way they released all those animations because the quest feels more emotional and alive now, and we could follow with the story better than before (and it effectively increased the hype)

Speaking of more alive, the facial expressions have definitely improved! This quest had them utilizing various expressions well, specifically for the playable characters, so, again, this really helped with the feel of the quest.

Additionally, adding a picture to scenes also set the tone really well. It's not that pictures have never been included in quests before, but the way these were framed(?) made it look way better than the ones before.

By the way...is it just me? Or did Paimon's voice somewhat mellow out for this quest? I had recently played some other story and world quests, and Paimon's EN voice is admittedly high-pitched and painful to hear in those, but for this quest, it's as if her voice was toned down (like Mondstadt Paimon, but with current Paimon energy). I'm hoping this was them taking the criticism from past and adjusting their instructions to Paimon's VA accordingly, because I loved Paimon's voice in this quest (that or I'm delulu)

Quick lore tidbits before I go back to gushing about this quest:

1. Arlecchino confirmed not from Fontaine (like I legit thought she may be Khaenri'ahn due to the blood moon thing she has going for her, but it's nice to confirm her non-Fontainian status)

2. Crucabena was the one who had a deal with Dottore on sending members of the HotH to him for experimentation. Anyone who was physically impaired or left alive after a duel to death are automatically sent to him. Clervie has described this as a fate worse than death... Peruere rejected Dottore's partnership offer once she became the next knave. Also, Crucabena used Clervie as an "example" for those who wish to escape, meaning Clervie received the most abuse (which apparently worsened as the years went by). Clervie lost hope sometime along the way and was basically suicidal as well by the time she and Arlecchino had their duel... Her mindset by that time is that the only hope for freedom to her is death. The popular theory of Clervie letting Arlecchino kill her is proven in a horrifying way with this discovery... (yes, she wanted Arlecchino to be the king, but at the same time, she took this situation as a chance to hit 2 birds with 1 stone)

3. Project Stuzha is apparently something highly dangerous, and Pulcinella and Pantalone are trying to get Childe and Arlecchino involved (Childe was told to aide the project by Pulcinella, while Arlecchino says she doesnt want the HotH to be involved in it)

4. Here is me reannouncing that I am in fact taking the L on the Freminet and Crucabena situation. Basically, the timeline is that at age 16, Clervie dies, and we are left with a 1 year time period for a 6 year old Freminet to enter under Crucabena (I'm guessing this is either a retcon or a means to hide the Arlecchino plot by not having them directly say mother in Freminet's character story 4). After that said 1 year, Peruere kills Crucabena and has spent several months in Snezhnaya before reviving the House of the Hearth and adopting Lyney and Lynette (perhaps the children of Crucabena's HotH simply stuck together during that time)

Basically, yes, Arlecchino is in her mid-20s. Not my personal cup of tea, but hey, genshin ages are confusing most days (Ayato is older than her, and Ayaka may actually be older than her as well... ugh I need a moment please... I MAY BE THE SAME AGE AS HER. NO-)

5. Freminet used to also call Lyney "brother". What changed that, I'm not sure (and if I had a nickel...), but the thought of baby Freminet following around big bro Lyney and big sis Lynette makes my heart melt. Freminet actually cried after Lyney basically told him how important Fremi is to him, so whoever made Freminet think otherwise... 😡 they better square up because we ride at dawn

ok back to me gushing

THE BOSS FIGHT? IT WAS SO COOL! It was beautifully animated, and the fact that they added this at the end?

The fear on the traveler's eyes upon realization of what true power Arlecchino held was amazing imo. We canonically cannot defeat Arlecchino in her boss fight! She will be a weekly boss that we can defeat, but in actuality, we really cannot beat the number 4 of the Fatui Harbringers.

We now have actual proof that harbringers 1-4 are not within our capabilities to challenge, and to add to that horror, this is us fighting Arlecchino with Lyney, Lynette, and Freminet. This is also actual proof that we, the traveler, cannot defeat a ton of other characters as well! (were cooked if we never get a power boost and plot armor✌️)

Also let me sneak in this picture:

Cunty as fck. Powerpuff girls energy. They're the Heathers, and we, the traveler, are Veronica.

And finally, the last part of my commentary that cemented this quest as my top 1:

Everything Arlecchino has done for the House of the Hearth, it was all thanks to Clervie and her dreams.

Arlecchino has shaped the HotH into a more honest relationship between her as the father and them as her children. Everything Clervie hated about the old HotH is now nonexistent in this version.

The children could be set free.

Duels are not to death.

They will not be sent to their doom if they lose.

This is everything that Clervie dreamed of, and this is everything Clervie tragically never got to see and experience because she lost all hope.

Clervie's story ended in tragedy, but Peruere lived and breathed Clervie's dreams for her anyway. Seeing the aurora was the start of Peruere finding the goal of living Clervie's dream, and now, Arlecchino strives to do her best to see those dreams come to fruition.

And the qualities that Peruere admired in Clervie are the same qualities that made her want Lyney to become the next king. Hopeful, caring, protective, passionate, and full of conviction. Lyney will take the mantle and live and breathe for Clervie's and Peruere's dreams someday.

Honestly, I have more to say, but I think this is a good place to stop for now. The dynamics of all these characters have made this experience worthwhile, and I hope that genshin continues with this sort of style in the future. Here's to more amazing stories from genshin!

Bonus screenshot while we are still here:

[utahlive]

im sorry utah nation. I played videos game instead of working on an episode,, orz

on an unrelated note, I wanted to ask: does anyone have any tumblr themes or ways to make posts chronological? We have roughly 150 episodes of UtahLIVE, and although most of them can be read out of order, there is a timeline (plus it would be more convenient for new readers. Ive gotten a lot of asks about topics or scenarios that have already been answered). If there are any tutorials/themes/tips let me know via DMs or ask box!

additionally:

LETS GOOOOO!!! This is insane! 4000 people... thats roughly twice the size of the student body at my school. I dont know how many of you guys are porn bots, but im still going to take this W. I feel like I should do something special? People usually do community events for milestones I think so if you have ideas let me know?? Otherwise I’ll have something fun to post in the next week.

+ some quick q&a below

avoiding potential lawsuits 🙏

I know this one is meant for Wilbur, but alas thats just how I draw eyes. Sorry my art style gave your fave character cataracts. yeah its permanent. no sorry we cant fix it. um. insurance doesnt cover the surgery so hes like that forever. yeah. sorry

(i do like to mess with how I draw eyes, but the white color is a stylistic choice)

its a psycho-competitive relationship that can be construed to be romantic (but it's not explicit). obviously

anon im holding your hand so tenderly and lovingly. it means a lot that people like my art! more than I can say, which is why ive been trying to figure out how to answer this ask for the past like... two+ weeks since you sent it in! Im probably gonna hold off on sharing my other accounts for a few reasons (there might be some people who already know my other blogs which is fine idc welcome to my twisted mind etc im just not going to advertise them here). My main blog is basically a spam blog where I dont tag anything. I dont really post original art and my fandom art is few and far between. 90% of my work just goes in discord DMs or servers 💀 I think the main reason though-and this may or may not make sense to some of you-is that I don’t want your opinion of me to change how you view the story. This is a super specific example, but for all my fic readers out there: have you ever joined an authors server, and then after meeting them you feel a bit odd about the fic since the creator isnt exactly the person you thought them to be (not necessarily in a good or bad way)? That’s exactly what I don’t want happening with this blog. Basically: Nooo what if you find out about me as a person and realize im cringeeee aaaaa [image of the werewolf transformation (you know the one)] That being said, we’ll see how things go, I guess! At the very least, I’ll probably put my socials out when I’m done here (we got a ways to go before that happens though, so dont even start to worry about that) that was a lot of text for one answer. yeesh 😬 sorry about that

[blehblarghblah]

wait wait wait, what about "Like Father, Like Libby"?? What are your thoughts on THAT dad episode? Especially bc what you said about alador. I cried 😭

^ me at that sleazy Matias

This is one of those moments where I meant in my other post TGaMM does a good job of balancing humour with serious tones, but evidently not making it a cheapened moment. Libby is a great character who has visibly grown out of her shell thanks to Molly's influence, and when we see her be passionate we can see/relate to a lot of aspects of her child-like glee. Granted, she is still a kid, but the way her excitement of lost time/potential takes hold of her here in this episode is even something Leah was surprised by. Which makes it very real and relatable!

To briefly pull away from the focus of the episode, I loved the B plot with Molly and Scratch because of the gags and one-liners. One of my favourite tropes in fiction, especially in sitcom series, is a character who is suddenly doing crosswords for the entirety of the episode which basically tees up punchlines and gags. I don't care if it's cheesy, I always find it hilarious. It's a simple way to set up jokes, but TGaMM did great with their deliveries and had me and my sister cackling.

Which is good! As undercutting serious tension can be needed to add levity. I feel as though if I had watched this episode as a kid, a lot of Leah's behaviours would've gone over my head then. But as I am now, seeing how she is, having moments of laughter adds great balance to the main story. And additionally, more moments of Libby and Molly's BFF nature is great: the fact that she knew Molly already messed up but was just playing it off just goes to show how well she knows her friend (I headcanon she asked Molly to put Simon on the phone just to troll her).

Now, the dad.

I love that Leah wasn't disheartened or jealous with Libby's sudden affection for her father. She had discomfort, but mainly because she knows what kind of man Matias really is. Seeing how she subtly places herself in support of her daughter throughout the entire is a great detail in how she is the parent that stayed and truly loved Libby, but also that Libby is aware of her mom's presence. As when the moment happens, she immediately knows she can rely on her mom again.

She just misses her dad.

And that, is wonderful storytelling in the way that not even Libby was aware how much she wanted her father in her life until the opportunity presented itself. I don't think she wanted to become a writer because of him, but I bet that had a small influence in her outlet with her poetry and such. Much of his lack of presence takes a toll and is finally let loose here, which enhances Libby's expectations. She asks her mother if his personality is basically anything like the stereotypical dads she's no doubt read/heard about.

Though I believe even Libby started to suspect something at the moment she met him too, as when her dad gave her a signed copy it felt like she recognized his signature was more general than personalized for her. Seeing that after all the expectations and build up, he turns out to be exactly as Leah suspected, was a gut punch but also very raw. Letting Libby soak in her moment for a bit was nice, but having her come out of it and recognize her mother's value in her life made it all the better.

All in all, a great episode and definitely up there in my top five faves so far.

(P.S.: Matias book series is gonna flop, what kind of publisher decides to make a book into a trilogy after a book is released?)

Until next ask,

- Bleh

[burning-thistles-bt]

Hi, anon who previously sent a long ask mentioning adderfang&thistlestar's mentor-apprentice back here! What you said about Adderfang's reaction to spottedpaw's pregnancy (the idea that he was upset his Precious Baby Daughter was exploited by an older warrior) got me thinking about Willowpelt! Specifically, we know Adderfang didn't react so strongly to learning she was pregnant, even though she had darkkit before spottedpaw had the firesibs. if i recall correctly, Adder&Swift's reaction to willowpelt being such a young mother was never shown in FT, or never explored very closely... What was that moment like? Were they angry, did they worry Willowpelt had been hurt, or were they happy to be getting more grandkits? How did their reaction make Willowpelt feel?

Additionally, since Adderfang made a way bigger stink towards Spottedpaw's situation than he did toward Willowpelt's, did that have any affect on willowpelt? I presume, Adderfang probably thought Darkstripe's father was another one of the apprentices which is why he didn't seem TOO upset, and Willowpelt never wanted to "tarnish" Tawnyspots' legacy by revealing him preying on her. But I imagine Willowpelt seeing Adderfang throw such a big fuss (and rightfully so, of course, him threatening to flay thistle alive in FT is one of my fave scenes lol. so satisfying) over spottedpaw being pregnant might have made Willowpelt feel strange. Did it cause her to feel like her dad didn't care as much about her? She and spottedleaf have a very good relationship, especially as older adults, but I can imagine when she was so young and dealing with how drastically and unexpectedly her life had changed she could have harbored some more complicated feelings. Was she jealous that Spottedleaf was getting more attention from their parents? if so, did she feel guilty about that jealousy, knowing how terrible it is to be in spottedleaf's situation? do you think spottedleaf and willowpelt ever talked out these feelings?

Sorry for another long message haha, the way the story unfolds in your fic is so interesting I just think about it all the time, it's made me really like spottedleaf and willowpelt way more than i did before reading it, youve developed them into such complex characters!! Thanks again for taking the time to read my message!!

Adderfang and most everyone else didn't question Willowpelt's pregnancy because she had her warrior name! To them, warriorhood means you are an adult, but that's not necessarily the truth, considering Willowpelt technically did get pregnant when she was an apprentice (it's just that no one really connected the dots there, except for those like Featherwhisker and Spottedpaw and such. Most assumed she just gave birth early, which is a far assumption especially considering most of her kits died/were sickly), plus she was still under 12 moons (typical warrior age) when pregnant/giving birth. Adderfang and Swiftbreeze were both a little concerned that she was so young, but it really boiled down to "well, she's a warrior, she can have kits now if she wants I suppose," and they lacked the experience or knowledge to argue against that. It's just ingrained tradition and culture for them.

Most assumed the father was Whitestorm or maybe possibly Tigerclaw, but most of the clan knew Whitestorm had a crush on Willowpelt (though others argued that he and Brindleface would become mates since they were best/close friends), so they assumed it was him, and that Willowpelt either rejected him or Whitestorm didn't want to help raise the kits. Just ask Frostfur what the rumor mill was at the time and she'll fill you in on all a hundred possibilities lol

Willowpelt definitely had... feelings seeing Adderfang get so protective over Spottedpaw when the truth came out. She often wondered if Adderfang would have had the same reaction if she had told him that Tawnyspots did the same thing to her. But, guilt kept her mouth shut. She felt like it didn't matter since Tawnyspots was dead anyways now. Plus, wouldn't it just seem like she wanted the attention? She didn't want attention, she just wanted to stay quiet. So she did. But it still ate her up and unknowingly strained her relationship with her parents, because she felt like she couldn't be protected by them like Spottedpaw was. If Adderfang ever knew though, you bet he would have charged straight into StarClan itself just to beat Tawnyspots up for touching his daughter like that.

Spottedleaf and Willowpelt did confide in each other! They were about the only ones who told each other all their secrets and hidden feelings, THOUGH Willowpelt DID keep more of the details to herself. She felt like "Spottedleaf had it worse" and that she just needed to be a supportive sister. But they did talk about it.

(Though I can tell you the exact opposite happens in Reflamed)

No worries about the long message! We love answering questions!!

[otomefiend]

I'm going to chime in as well since it's the ikegen party. I'm firmly in the camp of playing the games we want to play since time is a limited commodity. Saying that, if the only reason stopping you (the collective you) from dipping into this gem of a game is the fact it's an older title, that is not particularly popular even with the Japanese crowd, don't sweat about it and just jump in.

I only got into ikegen last autumn and I feel there's still an abundance of content and excitement. And you can be a part of the exclusive club of 5 people on the tumblr obsessed with this game. XD Joking aside, even if you read the main stories you'll get an amazing quality writing and some of the best cybird characters to date. Trust me, I played 90% of their games (including all of their eng releases). Additionally, in my opinion the quality of writing increases with the game's lifespan since the writers are more comfortable with the universe and the extended cast. And the cherry on the top is you don't have to wait for your fave and risk a premature burnout. Save for Sueharu, may the Cybird gods release this bad boy soon cause this gal is thirsting hard.

So far the lovely folks (ga-yuu, archiveikemen, sakura-samsara) translated the prologue and several routes: Kurama, Akihito, Yasuchika (best boy,no bias lmao), Morinaga and they're planning to release more (Yoichi is in progress and I'm toying with the idea of translating one of the intro routes as well).

No need to fully dedicate yourself but snag at least our delicious villains. If you're into villains that is, cause they spare no punches.

Also, ikegen is probably the only cybird game that has all the bling, including the abundance of voiced content, card stories, gorgeous backgrounds, cute minigame. They sure went all in and still deliver.

Speaking of less popular games, who's on the Koihana Bakumeiroku hype train with me? 😅

It hurts so much...when I see....

Polls on Tumblr that are made by people who say 'Hey! Commissions for Ikemen fanart is open' or 'Hey, I gonna write Ikemen fanfic for this month' and they ask us to choose which Ikemen series we want. Excited when I check the options....there is no Ikemen genjiden in there. :(

There is Ikemen revolution and also Ikemen villain......but NO IKEMEN GENJIDEN :(

Look! I have no right to force people to play ikemen genjiden if they don't want to. But man, it still hurts so much when you see your fav game getting neglected so hard. It's like when you are with your friend group and they talk about something interesting and when you try to communicate your ideas or thoughts, they just pretend you don't exist or treat you like you're some kind of joke to society. It hurts really really bad and I've seen many polls like that. They don't even mention Ikemen genjiden....call me selfish if you want! But just want to share my thoughts on this.

[writing-good-vibes]

get a load of this monster

you thought i turned a page and abandoned sinclair twins angst? think again. this is a million percent dedicated to @early20sfailingplenty who dropped this bombshell ask on me agesss ago and it has lived rent free in my brain ever since. warning for angst (but you knew that already, right?) edit: part two can be found here.

He'd never been this angry with Bo.

Not in their whole lives had he felt as angry as he did right now. He was close to saying he hated Bo, but they both knew he wouldn't. They never said that, they could barely even conceive of the idea of hatred between them.

Either way, Vincent was angry, and when he was angry, he didn't want to be around anyone or anything for a long, long time.

There was one easy solution to this. The mask went back on. He rarely wore it in the house, only if they were in the middle of a hunt. But now, even as he sat sullenly in his workshop, he glanced over at it, propped up against an old coffee can full of paint brushes and half-chewed pencils.

Putting the mask on took a weight from his shoulders, took away the horrible, terrible pressure of interacting and making connections and socialising. None of that, instead he just had the warm familiarity of his own breath.

He doesn't see Bo for a few hours, waiting it out until he figured Lester, who had done a terrible job of mediating, must have left. He's hungry enough that he'll risk creeping back upstairs to forage the kitchen.

Bo is slouched on the sofa watching TV, the carton of OJ held between his knees.

He looks around when Vincent walks through, tracking him with his gaze to the kitchen before standing up himself and following his twin.

Bo doesn't outright say anything about the mask, not yet anyway. A sideways glance is enough for now as they skirt around each other, both of them still too annoyed to make a proper dinner so they settle for lunchmeat sandwiches and bags of chips. Vincent goes back to the basement. That, at least, isn't unusual if they'd had an argument.

*

He doesn't resurface until late the next day.

The mask is still on when Bo finds him, watching the news whilst dinner cooks slowly on the stove.

This time Bo scowls, "You don't have to wear that - that thing - around me, y'know."

Vincent doesn't respond, and changes the channel over.

"Fine," Bo huffs, "what do I care if you're being moody?" But he sits beside Vincent anyway, chancing several sideways glances at him but knowing, deep down, that Vincent's resolve, especially in times like these, was as strong as nails.

*

The next day is no better.

"Quit it, Vince," Bo says, clutching onto Vincent's elbow as he tries to shoulder past him to get out of the kitchen.

Vincent looks down once at where Bo's hand is before shrugging him off.

"What do you want from me, Vince? C'mon, stop fucking with me."

Vincent doesn't reply. He's always been the best at holding a grudge.

"Vince, please." Bo's sounding desperate now.

Bo has seen Vincent's face everyday since they were kids, even with their parent's insistence on the mask. Seeing it only half-reflected in the mirror isn't enough. He and Vincent are very rarely apart, and the mask is a wall between them that neither of them like to talk about.

*

It's three in the morning and Bo is crying.

He tries not to, he really does. Tries to hold it all in until he just can't anymore. Until the damn breaks and there's a steady stream of tears wetting his cheeks.

He doesn't even care about the argument anymore, it's long since left his memory and the new, far more brutal effects of Vincent's anger have hurt him more than any scathing insults could.

Bo tries to keep his breaths even as he stumbles out of bed and creeps along the hallway and down the stairs. He can't stay in his room. He heard Vincent go to bed surprisingly early that night and he did not want the embarrassment of his twin hearing his stupid, pathetic crying through the wall that separates their rooms.

Instead, he finds himself in the study. Their daddy's study. Bo doesn't often go in there, it's too full of reminders --

(Photographs that glare down at him from the walls, with that disapproving gaze that he was never able to shake)

-- Reminders that he's thrown in there and locked the door behind.

His breath is still gasping and wet with tears. Bo sits down in the corner, curled against the wall, when he finally lets out a sob that surprises even him.

Bo wails, truly wails and, all of a sudden, he can't control himself, he's almost laughing with how hard he's crying. And he can't stop.

Vincent doesn't come down straight away. Although he heard him leave his room, he doesn't follow him. No, he gives Bo time, god knows he needs it, and instead he waits until he thinks the worst has passed.

Then, he follows his twins creeping path through their big old house and finds him in the study. Their daddy's study. Vincent comes through here often, the he doesn't look around --

(His old masks, taken from Bo's face, line the walls like poaching trophies)

-- Doesn't like to see the reminders of everything that once was and no longer is.

Vincent is still wearing the mask when he pokes his head around the door.

Bo is in the corner, red faced and chest heaving. Bo is a mess.

Vincent approaches, crossing the room slowly in the dark, but his twin turns away bashfully, trying and failing to come across as something even close to stoic by wiping desperately at his face and pretending to ignore Vince coming toward him, but it does nothing to hide the state he is in.

Flicking the desk lamp on, Vincent goes to Bo's side and slides down the wall to sit beside him.

Any sense of composure Bo had goes out of the window when, after days of detachment, Vincent finally takes his mask back off. He leans across to put the mask on the dresser behind the desk before sitting back again.

Bo's lip is wobbling as tears threaten to spill again and seeing it, Vincent thinks, will hurt even more than hearing it. It always does. Vincent pulls Bo to him, hugging him tightly.

"I didn't mean what I said," Bo mutters. He doesn't even really remember what he says, but he'll never say it again if it means Vincent won't torture him like this again.

Pushing Bo back a little so he could see his hands, "I know. I'm sorry too."

Time passes them by and they sit there, together, on the cold, harsh floor. They talk for hours, words and hands slow, until Bo falls asleep. Vincent isn't far behind, and he presses his face against Bo's hair.

Above them, watching from behind dusty glass, is the man who made them like this.

[actualbird]

I got distracted reading 4-04 and 4-05 i totally forgot the actual thing i was supposed to ask you today, what are your thoughts on the kinds of shows the nxx team wouldve watched as kids growing up. MC and Luke have apparently watched animes and even dressed up as characters but i have this need to know the finer details. LIKE. WHAT DID YOU WATCH SPECIFICALLY?? And i remembered you said luke was the one who probably understood most of the terms zangr was saying so like?? Luke do you like these kinds of things?? -Marsh

MARSH, thank you so much for this ask and for the SPECIFIC WORDING "watched as kids growing up." because that makes me have to go back in time and thusly uncovering by far my favorite yet most under-utilized and never-brought-up detail of tears of themis:

the story of this game takes place in the year 2030

DO U HAVE ANY IDEA HOW FUNNIER THIS MAKES SHIT???? AND ALSO HOW MUCH MORE SENSE STUFF MAKES??? let me explain myself by going thru all the boys one by one

luke pearce

YEAH HE SAID HE AND MC WERE RLLY INTO ANIME AS KIDS. luke pearce who is 24 years old in 2030 means that from the Important Media Ages (12-15) it was 2018-2021. this period of time, anime started getting more and more accessible, most notably getting on netflix and stuff like this. so like all the anime on netflix rn? yeah luke's watched them.

though because i kin luke, imma say that his fave is fullmetal alchemist: brotherhood. ive got no characterization proof for this, i just want to give him this honor

additionally, luke is a HUUUUGE fan of the original Sherlock Holmes by Arthur Conan Doyle novels (ACD Sherlock) and i think this would have pushed him to watch like, just every popular sherlock media adaptation there is. he personally liked Elementary better than BBC Sherlock. he generally just gravitates to the adaptations that dont forget about the heart of all of the characters.

also also also, luke likes action movies ranging from "hey this is "good" to critics" to "this is a shit movie but MY GOD IS IT FUN!!!"

artem wing

artem wing who is 29 years old in 2030 means that from the Important Media Ages (12-15) it was 2013-2016. but also artem is a MOVIE SNOB LMAOOO, hes That Guy with the Opinions On Film and you bet that his analytical ass was into just the most extra shit to watch those days because no teenager is chill, every teenager has some kind of ego, i dont know what movies he would have watched at that point to be the Smartest Teenager About Movies, but he sure did watch them

though artem also is very into sci-fi literature and 2013-2016 had a BUUUNCH of huge sci-fi movies. Pacific Rim, Gravity, Interstellar, Arrival. Arrival is deffo artem's fave, dont fight me on this, i can explain further but not in this answer bc it will get LOOONG LOL

artem also is into "classics" which uh. wait artem what do you Mean by that, what is a "classic" for somebody born in 2001??? i dont really know exactly what he means by "classics" so i just take it to mean he's a slut for period dramas which leads me to my closing point

"Once upon a time, when [Artem] was younger, around 17 years old, he pondered identifying as asexual or as one of the subsets under that term, but he put that aside after he first watched Pride and Prejudice (2005). He had then acquired a recurring fantasy in which he would be sensually accosted by Elizabeth and Mr. Darcy in a secluded study after months of furtive, charged glances, lingering, split second touches, double entendres classily and subtly masked but still implying a repressed yet voracious—Moving on." -an excerpt from my comedy smut fic where artem goes thru a crisis. yeah. yeah. Pride and Prejudice dir. Joe Wright was his bisexual awakening.

MOVING ON!!

vyn richter

vyn richter who is 27 years old in 2030 means that from the Important Media Ages (12-15) it was 2015-2018 but honestly that doesnt help me AT ALL LOL BECAUSE VYN IS A TOUGH NUT TO CRACK.....

like honest to god i cant even imagine vyn as anything other than an adult KJBSJKFS (which is depressing, if i think about it more... but also what vyn would want, i assume he would hate for people to have known him as a child, imperfect and shunned.....which is ALSO DEPRESSING. VYN, U GOOD???)

okay yknow what im not studied enough in Vyn Richter Studies so i will come back to this once ive gotten more of his story and know more of his (what im theorizing to be a SHITASS TERRIBLE) childhood history. so vyn, i guess ur safe from me....ur safe FOR NOW, THAT IS....

marius von hagen

marius von hagen who is 21 years old in 2030 means that from the Important Media Ages (12-15) it was 2021-2024. good fucking lord, marius was born in 2009 and that makes him so young that his Important Media Ages arent even DONE HAPPENING IN OUR CURRENT TIMELINE, JESUS....

2021 is an interesting era of entertainment because it is getting steadily more and more apparent that corporate greed is trying to swallow up good storytelling; movies and shows are made as fast food products to be consumed immediately and thrown away just as fast. there are smarter posts and articles talking about this, but my point here is that marius "believes SO MUCH in art and art's capability to make a difference" von hagen would HATE THIS SO MUCH and, through spite, get into a lot of indie medias that dont necessarily sell. smaller movies, tv shows that got cancelled way before they should have.

oh, hey, MARIUS WAS 12 YEARS OLD IN 2021, yeah he could have watched The Owl House and threw a fucking FIT when disne/y nerfed the show's third season. he has not forgiven and he has not forgotten.

regardless of his age, marius, at some point in his teens watches Vincent and the Doctor (s5 e10 from Doctor Who). for those who dont know this episode, it involves Vincent Van Gogh and a bunch of sci-fi stuff but, at the end, a scene where Van Gogh is taken to the future and shown the impact his art has made on people. please watch it, if you havent it, it's very good and no words can do the experience justice.

anyway yeah marius watches it and it makes him FUCKING SOB

yeah so these are my takes kdjbfdsjfs

[lov3nerdstuff]

Hi Kay!

I just wanted to take a moment and say how deeply moving (and overall comforting) I find your writing to be! I've gone through almost the entirety of your masterlist twice in the past month alone and have found myself returning more often to the pieces of literature/poems your reference sometimes. (Especially that one poem by Benedict Smith! I've read a few more by him because of you and they're just wonderfully lovely 💛 so I'm eternally thankful to you for including it.)

I may be wrong in assuming, but I believe you may have studied/are currently studying a degree involving literature. I hope this isn't too foreward of me but I was wandering if you have any other works of literature that you'd recommend? (I'd love to read anything you recommend from poems to plays 💛) I'm slightly embaressed to say but the works I've read are quite limited to a highschool level and since I'm currently studying Pharmacy, there are very few people who can recommend me such moving works. :)

I also feel like I should apologise for writing such a large ask, so please accept this apology as well hehe 💕🥺

Sincerely,

Bek 🌻

Hey there Bek 💚💕✨

First of all... I'm incredibly sorry for how long it took me to reply to this ask, I know you sent it weeks ago and I'm honestly just ashamed of myself for only replying now! I've been taking a bit of a Tumblr break again, or rather a break from literally everything, and I guess not having written anything in a while made me feel guilty whenever I opened Tumblr, so... All I can say for myself really is that I'm sorry you had to wait so long! Again, I never ever ignore anyone, I promise! It just sometimes takes a while for me to reply 😅🙈

Now, I'm so happy to hear that you've been enjoying my writing! 🥺🥰 Hearing that it's comforting and inspiring to you is honestly such a relief and indeed does make me happy more than I can say 💚 It's so cool that you're checking up on all the references I make aaahhh 🥺🥺🥺 I love it 😁 You're always more than welcome, love! I don't think I could stop including references to literature, culture, history and the science around it even if I tried 😅☺️

And yeah, I did study classics and newer literature as a minor for my undergrad degree 😄 But tbh I still work with literally a lot even now (I'm in grad school for media and cultural studies) even though it's technically not something I've been properly taught ☺️ I'm just a nerd who likes to learn on her own, and with media and culture you can pretty much delve into almost anything you want 😂😅🤷🏻‍♀️

Now, it's not forward at all to ask me for literature recommendations! 😁😃 I truly love recommending stuff!!! I have a few up my sleeve, even though you've probably heard of a few already, for obvious reasons: A lot of what I truly enjoyed reading was something Tom Hiddleston has worked on in one way or another! It's truly a magnificent guideline for picking new literature... Just look up the literary origins of his films/shows/plays and you will be in for quality literature most of the time! I don't think I've ever mentioned it on here, but me reading High-Rise (JG Ballard) because I heard Tom would be partaking in the film adaptation was actually what sparked my love and passion for literature!!! Yep, it's that good. Now on to the recommendations though 😁(This... got rather long):

Plays

Anything by Harold Pinter really, but for obvious reasons you'll find a lot of additionally fun stuff for Betrayal, which is lovely and truly funny if you're in on the kind of humour btw

Medea by Euripides (a classic, but I love it nonetheless... You can find translations in almost every language) ((and pls stay away from Seneca's Medea, because ugh... Euripides is far better AND the og story, as much as anyone can say that for Greek mythology)

La Bohème by Puccini (I know, this is technically an opera, but if you read the libretto it's honestly just like a play... And if you're up for it, the og story is in prose and written by Henri Murger... It's better than the opera, but oftentimes more difficult to find) ((this one is hilarious and basically explains an entire cultural subgroup in the 19th century)

Faust by Goethe (many people hate it, but I LOVE this one!!! It's also been translated into any and every language, and it's so interesting philosophically!!! It's also referenced SO freaking often literally everywhere, and the operas and ballets based on it are always my fave) ((there's technically Faust I and Faust II, but you're good to go just reading the first one)

Anything by Shakespeare, obviously... Though I do love me my Hamlet like every other literature enthusiast (Yes, I can do that one famous soliloquy in act 3 scene 1 by heart as well...)

Poetry

Again, anything Shakespeare for the win, but I LOVE the sonnets and keep a copy of them with me most of the time (Yes, I own multiple copies of the sonnets...) ((My faves are 116 and 91, but there's always so much truth to be found in there!!!))

A lot of the stuff William Blake wrote is amazing, though you have to pick carefully with him if certain religious motives aren't your thing... I love The Tyger, which is an individual poem, and the collection of works called Tyger, Tyger which does have many good ones and a few ones that are a little more on the mediocre side

Do not go gentle into that good night by Dylan Thomas (I know this one by heart as well... It's beautiful, and there's a version of Hiddleston reading it on YouTube, which gives you even more goosebumps than the poem does anyway)

Invictus by William Ernest Henley (same for this one, also read by the one and only) ((I love to read this when I'm feeling down or powerless))

The Love Song of J. Alfred Prufrock by T. S. Eliot (This is another wow piece with many quotable lines and truths... I love it a lot and keep coming back to it! It's also a great example of how literary modernism tried to condense the complexity and passing of time and history into a single frame that had to be intrinsically poetical in nature... As in, this poem could've been a short story in any other period, but modernists loved to make everything a poem so here you go)

Der Zauberlehrling by Goethe (This one sucks in all English translations I’ve found, poetically speaking, but in German it’s such a fun piece! If you’ve ever seen the Disney ‘The Sorcerer’s Apprentice’ with Mickey Mouse or listened to the orchestral piece by Paul Dukas, then this poem proves very useful in truly understanding either! But again, the English translation should only be taken for informational value... The German one is also worded hilariously)

Prose

Short edited by Alan Ziegler (This is a collection of short prose forms that honestly is a must for me... I love this book to pieces and have had it for years now! It’s an international anthology, so you’ll find more and less famous authors from all around the world represented with short stories, prose poems, short essays and just curious and interesting snippets of writing! I draw a lot of inspiration from this book)

High-Rise by JG Ballard (As mentioned above, I owe this book part of my personality... I don’t think I would be the same person without having read it. It’s not necessarily full of wisdom, but if you’re interested in a different kind of portrayal of the human condition, then this is the read you need to take a look at)

The City of Dreaming Books by Walter Moers (This is another piece that changed my perception of literature, even though this is a more ordinary and ‘fun’-value read... It’s one of my favourite books and it’s endlessly entertaining! So if the classics are a bit heavy for you, this one is perfect for casual readers as well! Its value really does lie more in the realisation of how fun literature can be, and the freedom you have as an author... So really, I could recommend everything by Moers, his style is amazing both in the German original and in the English translation. Yes, I’ve read both.)

Good Omens by Neil Gaiman and Terry Pratchett (This is comedic gold, stylistic gold and generally a bloody perfect book. Also a ‘fun’-value read, but it also does a magnificent job at showing you what you can do with literature, and how well-developed characters are supposed to be written)

The Penguin Book of the Undead (Penguin Classics) edited by Scott G. Bruce (This book is basically an education on fifteen hundred years of supernatural encounters and how culture wrote, used and perceived them. You get introductory texts for different periods and social groups, explaining how and why ghost stories were written and used, followed by passages of the prime source texts (eg. ancient necromancy shown on The Odyssey). Really, this book is just for cultural history nerds)

The Earthquake in Chile by Kleist (This isn’t necessarily one of my faves, but it has helped me understand what studying literature and culture can do for you. In case anyone remembers my insistence in Wicked Game that you gotta know what a pomegranate symbolises... this novella is such an instance where this knowledge would prove useful. Generally, it gives many opportunities to think about privilege and circumstance)

The Symposium by Plato (You’ll probably not want to read the entire collection of speeches tbh... But the concepts introduced mainly here and in some of Plato’s other work are well worth looking into! For example, the ‘double being’ introduces a concept that in modern fiction is called soulmates... Just sayin’)

[monotonous-minutia]

Brief history of Les contes d’Hoffmann edits (the short short version) + Summaries!

Kudos to anyone who gets through all of this, but I recommend at least reading the first part if you plan on watching this opera next week for Operablr Pride Month. It will help you find/choose a version to watch!

For the differences in the summaries to make sense, we need a little background info.

The very very very short version of why there are so many edits:

Offenbach died before he could finish the score. Most of the prologue, Olympia, and Antonia acts were done; the Giulietta act and the Epilogue were not, which is why those are the parts that vary the most across the different edits. Additionally, much of the material that varies belongs to Nicklausse/the Muse. The reason for this is that the mezzo in this role cancelled last minute, and the replacement didn’t have time to learn the entire role before the performance, so the Muse monologues, Violin Aria, and much of Nicklausse’s dialogue were cut; the ending monologue was replaced with spoken speech. Since the premiere—which is another story for another time—several conductors, directors, and music scholars have attempted to reconstruct the opera based on Offenbach’s drafts and notes, and in some cases their personal preferences. Additional shoutout to good old Guiraud, who finished a lot of the orchestration that Offenbach didn’t get to, which is some of the only stuff to survive most edits.

Also, I should say: apparently in addition to there being no definitive edition of this opera, there’s no definitive history either. I swear every book/article I read about it says something different so this is the best I could do. So if there are any inaccuracies, apologies in advance.

Now there are a lot of people that have tinkered with this opera, but there are a few main ones that compiled what are dubbed “critical editions,” because they did a bunch of research and a lot of people end up using edits based on what they did.

In chronological order, those critical edits are:

Choudens: The shortest version, and one most people are familiar with.

Oeser (1): Longer with a lot of missing material added, also fairly well-known.

Oeser (2): Even longer with a ton of new stuff added! (My personal fave but pretty rare)

Kaye/Keck: Uses some of the material rediscovered by Oeser, but also adds a ton of other stuff, particularly in the Giulietta act, as well as re-orchestrating significant portions. Not many of these either.

and apparently there’s another one called “OG Offenbach” or something like that but as far as I can tell there haven’t been any recordings of it or much about what it looks like, but from what I gather it’s fairly similar to that last one, with some adjustments based on yet more new-old material discovered.

And, of course, every single production I’ve ever seen/heard puts its own spin on things! So while most have the general formats as seen below, literally no two are exactly alike.

A bit more detail on the versions:

Choudens

This is one of the first people to edit the material after it was butchered for the world premiere. It’s the short version of the opera with the most material missing, though to be fair he did improve upon what it had been before. His is (unfortunately) the edit most people are familiar with:

Prologue: Chorus of Spirits of wine and beer. Lindorf monologues about stealing Stella from Hoffmann. Students party in the tavern and ask Hoffmann to tell a stoy; he sings the famous "Ballad of Klein-Zach." When taunted by Lindorf about his love life, Hoffmann decides to tell everyone the tales of his Three Great Loves. Act I: Olympia. Hoffmann is in love with the “daughter” of Spalanzani, his science professor, unaware that she is a robot. Coppélius sells Hoffmann magic glasses that make him believe Olympia is a real human, despite Nicklausse's insistence that she is a mechanical doll. Olympia is presented to the guests at her coming-out party; they marvel over her. Hoffmann serenades her and dances with her, but Coppélius arrives to take her apart, and Hoffmann realizes he’s been in love with a robot the whole time. Act II: Giulietta. Choudens put the Giluietta act second instead of Antonia. At a party, Nicklausse and Giulietta sing the famous Barcarolle; Hoffmann counters with an aria about how love is futile. Nicklausse tries to warn Hoffmann to be careful of Giulietta's lover, Schlémil, but Hoffmann of course does not listen. Dapertutto arrives and makes a deal with Giulietta to trick Hoffmann. Giulietta seduces Hoffmann and steals his reflection. When Hoffmann realizes his reflection is gone, we get the famous Septet (the only thing I’m grateful to Choudens for). Afterwards, Hoffmann kills Schlémil  to get the key to Giulietta’s room, but Giulietta leaves with Pitichinaccio instead. Act III: Antonia. The singer Antonia is sick and it’s her singing that is killing her. Hoffmann, who’s been looking for her for months after Antonia and her father moved specifically so he couldn’t find them, has finally found her. They promise to run away and get married, but before they can, Dr. Miracle forces Antonia to sing until she literally dies. Epilogue: Hoffmann has finished his stories. Nicklausse makes the connection that all three ladies are actually metaphors for the real-life Stella. Hoffmann yells at him. Stella walks in on a drunk Hoffmann who mistakes her for his lovers; she leaves in a huff with Lindorf. Nicklausse reveals his identity as the Muse (in spoken dialogue) and asks for Hoffmann’s devotion. Hoffmann gets a reprise of his Giulietta act aria, but this time committing himself to the Muse and his art.

Oeser (1)

This one, which is also very common, isn’t Oeser’s *actual* edit but combines his with the Choudens one, so it has a lot more material than the previous one, but not as much as the longer Oeser version.

Prologue: Very similar to Choudens except we get the Muse’s opening monologue explaining their motivations (winning Hoffmann and saving him from Stella) before the rest of the action. Act I: Olympia. Pretty much the same but sometimes Nicklausse gets a different aria. Act II: Antonia (which here comes before Giulietta). Almost exactly the same as Choudens’, but Nicklausse gets to sing a lovely aria about love and art which is really a love song for Hoffmann. Act III: Giulietta. Pretty much the same, except it’s the third act instead of the second act. Epilogue: Starts pretty much the same, until the Hoffmann/Stella confrontation which is now put to music. Then we get a reprise of Klein-Zach followed by the drinking chorus, after which the Muse reappears. The opera ends with the Muse’s closing monologue and chorus about how Hoffmann’s suffering will make him a greater artist.

Oeser (2)

Pretty similar to the short Oeser version described above. The most dramatic changes are really just in the Giulietta act, though there’s some extra material in Olympia too (that one waltzy duet I’m always gushing about) and sometimes more sung material for the Muse in the epilogue as well. Oeser’s longer Giluietta act: Has the same basic plot points, except instead of going right from Dapertutto making the deal with Giulietta to Giulietta seducing Hoffmann, we get a gambling scene where Giulietta serenades the guests as they play cards, during which each of the characters gets a little moment. Then Giulietta leaves and Hoffmann follows her, and she sings sadly about her dismal situation which leads into her seduction of Hoffmann, and the rest of the act ends pretty much the same, except sometimes there’s no Septet.

Now, on to possibly the wildest of them all:

Kaye/Kecke

This one is rare; there’s only a few recordings that even attempt it, and very few get it to the letter of what these two scholars compiled. Once again, most of the changes are in the Giulietta act and Epilogue; the only real changes in the previous acts are in the orchestration of some parts. Kaye Giulietta Act: Starts pretty much the same, with the Barcarolle and Hoffmann’s derisive aria, and Dapertutto making the deal with Giulietta. We get a gambling scene here too, but it’s not as long or dramatic and Giulietta gets a different aria. Hoffmann kills Schlémil for the same reasons, but it happens before Giulietta steals his reflection; essentially she’s bribing him before she pretends to fall in love with him. Hoffmann gets in trouble for killing Schlémil, and in a fit of rage tries to kill Giulietta, but kills Pitichinaccio instead. Kaye Epilogue: It starts with a chorus for the students kinda trying to talk Hoffmann down from his crazy stories. We get the same Nicklausse-Hoffmann confrontation, and the one with Stella, and a reprise of Klein-Zach, but in addition to the drinking chorus repeating we get a kind of ominous reprise of the “Glou! Glou!” chorus from the prologue, after which the Muse enters and we get the same ending monologue but it’s got some extra pieces.

So the short short version ended up pretty long huh? Anyway, I hope it's helpful!

If you want more detailed summaries to follow along with when you watch the opera, see below!

More detailed summaries!

Choudens

Choudens is one of the the first critical edits of the opera and, despite the fact that it’s been discredited multiple times, is still inexplicably used a lot and is what a lot of people think of when they think of this opera.

Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner, tells them Hoffmann is on his way, along with his friend Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the song, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia. Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird. Hoffmann brushes him off. Coppélius, an eccentric saleman, enters and displays his various wares, including a variety of contraptions but primarily eyes. He manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalazani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. They leave to join the other guests. Coppélius enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for what she truly is and is

humiliated. Act II: Giulietta (Choudens is the only edit that has Giulietta second instead of third) Venice. The courtesan Giulietta is having a party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards Hoffmann mocks them with a song of his own condemning love and romance. Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) After Hoffmann and Nicklausse leave to play cards with the others, the Captain Dapertutto comes in, announcing he plans to thwart Hoffmann with the help of Giulietta. He attracts the courtesan with a diamond (and a deceptively pretty aria) and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. Hoffmann returns and Dapertutto leaves. Giulietta seduces Hoffmann, who serenades her with a fairly famous aria that gets reprised later for a different reason (keep an eye out for that). Knowing she has him on the hook, Giulietta demands his fidelity—and his reflection. Helpless against her charms, Hoffmann agrees to both. Schlémil, Dapertutto, and Nicklausse return. Giulietta tells Hoffmann that Schlémil has the key to her room, and if Hoffmann can retrieve it, she’ll meet him there later. Dapertutto taunts Hoffmann, who looks in a mirror to find that his reflection is gone. Nicklausse begs him to leave but Hoffmann refuses, still clinging to the hope that Giulietta actually loves him. However she only mocks him, and he despairs, starting everyone off in the famous Septet (or "Sextet and Chorus"). Giulietta leads everyone back to the party, except Schlémil, who challenges Hoffmann to a duel. Hoffmann kills Schlémil and takes the key. He rushes to find Giulietta, only to see her riding off in a gondola with her real lover Piticchinaccio, both of whom are laughing at his expense. Nicklausse tells Hoffmann the police are coming to look for Schlémil’s murderer, and finally drags him away. Act III: Antonia Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to find Antonia for him. When the servant leaves to do so, Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that

Antonia is dangerously ill, and gives him

two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Epilogue Back at the tavern, Hoffmann finishes his tales. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down, then deliriously leads a reprise of the drinking chorus. Stella enters looking for Hoffmann, only to find him dead drunk. He mistakes her for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. The students all leave and Hoffmann is alone with Nicklausse, who reveals himself to be the Muse of Poetry. The Muse declares her devotion to Hoffmann and asks for his in return. Hoffmann, hearing this, repeats his song from the Giulietta act, this time declaring his love for the Muse and promising to return to his art.

Oeser (1)

The short Oeser version is the other Most Commonly Seen edit (I think it’s about a tie). It's similar to the Choudens edit in many ways, with some significant additions, which are in blue below: Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Muse emerges from a barrel, declaring her love for Hoffmann and determination to rid him of Stella, the “siren” who has stolen his attention (and affection). She tells the audience that she will disguise herself as Nicklausse, Hoffmann’s friend, in order to try one last time to win him tonight. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner, tells them Hoffmann is on his way, along with Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the sing, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird (sometimes it’s changed to a more mocking song specifically referencing Olympia). Hoffmann brushes him off. Coppélius, an eccentric salesman, enters and attempts to sell Hoffmann and Nicklausse a variety or contraptions; Hoffmann and Nicklausse bicker over whether or not to engage with the salesman. Coppélius manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalanzani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. They leave to

join the other guests. Coppélius enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for who she truly is and is humiliated. Act II: Antonia (When Oeser made his edit, he rearranged the acts to their original order, placing Antonia before Giulietta.) Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to go find Antonia for him. While Hoffmann expresses his joy over being reunited with Antonia, Nicklausse tries to temper his excitement with a reality check, which Hoffmann brushes off (he does this a lot). Nicklausse then sings a lovely song about the power of art and love (which is really a love song for Hoffmann), but once again Hoffmann ignores him. Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that Antonia is dangerously ill, and gives him two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Act III: Giulietta Venice. The courtesan Giulietta is having a

party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards Hoffmann mocks them with a song of his own condemning love and romance. Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) After Hoffmann and Nicklausse leave to play cards with the others, the Captain Dapertutto comes in, announcing he plans to thwart Hoffmann with the help of Giulietta. He attracts the courtesan with a diamond (and a deceptively pretty aria) and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. Hoffmann returns and Dapertutto leaves. Giulietta seduces Hoffmann, who serenades her with a fairly famous aria. Knowing she has him on the hook, Giulietta demands his fidelity—and his reflection. Helpless against her charms, Hoffmann agrees to both. Schlémil, Dapertutto, and Nicklausse return. Giulietta tells Hoffmann that Schlémil has the key to her room, and if Hoffmann can retrieve it, she’ll meet him there later. Dapertutto taunts Hoffmann, who looks in a mirror to find that his reflection is gone. Nicklausse begs him to leave but Hoffmann refuses, still clinging to the hope that Giulietta actually loves him. However she only mocks him, and he despairs, starting everyone off in the famous Septet (or Sextet and Chorus). Giulietta leads everyone back to the party, except Schlémil, who challenges Hoffmann to a duel. Hoffmann kills Schlémil and takes the key. He rushes to find Giulietta, only to see her riding off in a gondola with her real lover Piticchinaccio, both of whom are laughing at his expense. Nicklausse tells Hoffmann the police are coming to look for Schlémil’s murderer, and finally drags him away. Epilogue Back at the tavern, Hoffmann finishes his tales. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down, then deliriously leads a reprise of the drinking chorus. Stella enters looking for Hoffmann. Nicklausse exits, telling Hoffmann it’s time for him to choose. Hoffmann drunkenly mistakes Stella for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. Hoffmann begins to sing his Klein-Zach song before falling in despair. The students exit the tavern, singing their song once again and leaving Hoffmann alone. Nicklausse returns and reveals his identity as the Muse, serenading Hoffmann with a comforting refrain: love makes a man great, but tears make him greater still—his suffering is not in vain, but will make him an even greater artist.

Oeser (2)

The long Oeser version (my personal favorite) follows the short one fairly closely; most of the major revisions are in the Giulietta act. This one is pretty rare—I’ve only found one video (which is a terrible production unfortunately) and one audio recording (which is the greatest audio recording of this opera that currently exists). New material in green text:

Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Muse emerges from a barrel, declaring her love for Hoffmann and determination to rid him of Stella, the “siren” who has stolen his attention (and affection). She tells the audience that she will disguise herself as Nicklausse, Hoffmann’s friend, in order to try one last time to win him tonight. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner, tells them Hoffmann is on his way, along with Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the sing, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird (sometimes it’s changed to a more mocking song specifically referencing Olympia). Hoffmann brushes him off. Coppélius, an eccentric salesman, enters and attempts to sell Hoffmann and Nicklausse a variety or contraptions; Hoffmann and Nicklausse bicker over whether or not to engage with the salesman. Coppélius manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalanzani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. Then we get my beloved little waltzy duet where Nicklausse invites Hoffmann back to the party and Hoffmann denounces cynics who disbelieve the power of love. They leave to join the other guests. Coppélius

enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for who she truly is and is humiliated. Act II: Antonia Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to go find Antonia for him. While Hoffmann expresses his joy over being reunited with Antonia, Nicklausse tries to temper his excitement with a reality check, which Hoffmann brushes off (he does this a lot). Nicklausse then sings a lovely song about the power of art and love (which is really a love song for Hoffmann), but once again Hoffmann ignores him. Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that Antonia is dangerously ill, and gives him two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Act III: Giulietta Venice. The courtesan Giulietta is having a party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards Hoffmann mocks them with a song of his own condemning love and romance.

Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) As if summoned, the Captain Dapertutto arrives and introduces himself, ominously revealing that he knows who Hoffmann is as well, and in general just acts creepy. Hoffmann and Nicklausse warily leave him behind and go to join the others playing cards. Once they’re gone, Dapertutto announces his plans to thwart Hoffmann with the help of Giulietta. He sings a diablical aria and attracts the courtesan with a diamond, and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. She and Dapertutto join the card players. Hoffmann is losing miserably, much to Nicklausse’s chagrin. Giulietta serenades the guests with a song about love, not-so-subtly aimed at Hoffmann. We get a pretty epic chorus as the game goes on. [Sometimes we also get and aria from Schlémil about having lost his shadow.] Giulietta leaves and Hoffmann follows her, giving Nicklausse his cards and asking him to finish the game for him. Nicklausse protests and tries to follow Hoffmann, but Dapertutto holds him back. Hoffmann joins Giulietta in her room. Giulietta despairs over her feeling of being trapped and suffering. Nicklausse comes in and tells Hoffmann to get ready to leave and that he’s coming back for him. He leaves, and Giulietta tells Hoffmann he should as well, but he refuses to leave her. Giulietta tells him to steal the key from Schlémil that he uses to lock her up at night, saying if he does so, she will devote herself to him. Hoffmann agrees to do so and sings his aria. Knowing she has him on the hook, Giulietta demands his fidelity—and his reflection. Helpless against her charms, Hoffmann agrees to both. Schlémil, Dapertutto, and Nicklausse return. Dapertutto taunts Hoffmann, who looks in a mirror to find that his reflection is gone. Nicklausse begs him to leave but Hoffmann refuses, still clinging to the hope that Giulietta actually loves him. However she only mocks him, and he despairs, starting everyone off in the famous Septet (or Sextet and Chorus) [sometimes the Septet is left out in longer Oeser edits]. Giulietta leads everyone back to the party, except Schlémil, who challenges Hoffmann to a duel. Hoffmann kills Schlémil and takes the key. He rushes to find Giulietta, only to see her riding off in a gondola with her real lover, Piticchinaccio, both of whom are laughing at his expense. Nicklausse tells Hoffmann the police are coming to look for Schlémil’s murderer, and finally drags him away. Epilogue Back at the tavern, Hoffmann finishes his tales. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down, then deliriously leads a reprise of the drinking chorus. Stella enters looking for Hoffmann. Nicklausse exits, telling Hoffmann it’s time for him to choose. Hoffmann drunkenly mistakes Stella for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. Hoffmann begins to sing his Klein-Zach song before falling in despair. The students exit the tavern, singing their song once again and leaving Hoffmann alone. Nicklausse returns and reveals his identity as the Muse. She declares her love and devotion for Hoffmann and asks for his in return. She calls upon the Spirits of Wine and Beer, who she says have aided her in her efforts; they repeat their chorus and disperse. The Muse serenades Hoffmann with a comforting refrain: love makes a man great, but tears make him greater still—his suffering is not in vain, but

will make him an even greater

artist.

Kaye/Kecke

the Kaye/Kecke version is the most recent critical edition and hailed by many as the most definitive (aside from that “OG Offenbach” one I can’t find anything about). There are actually very few “true” Kaye productions out there, but a few that attempt it. A lot of the changes are just in the orchestration and, in the spoken-dialogue version, a lot of dialogue; the vast majority of the plot and action stay the same. The big differences are in the Giulietta act. Again, I’ll use some new-color text (orange) to indicate differences between this and previous editions.

Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Muse emerges from a barrel, declaring her love for Hoffmann and determination to rid him of Stella, the “siren” who has stolen his attention (and affection). She tells the audience that she will disguise herself as Nicklausse, Hoffmann’s friend, in order to try one last time to win him tonight. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner tells them Hoffmann is on his way, along with Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the sing, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird (sometimes it’s changed to a more mocking song specifically referencing Olympia). (also he sometimes mockingly serenades Olympia before his other aria.) Hoffmann brushes him off. Coppélius, an eccentric salesman, enters and attempts to sell Hoffmann and Nicklausse a variety or contraptions; Hoffmann and Nicklausse bicker over whether or not to engage with the salesman. Coppélius manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalanzani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. Then we get my beloved little waltzy duet where Nicklausse invites Hoffmann back to the party and Hoffmann denounces cynics who disbelieve

the power of love. They leave to join the other guests. Coppélius enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for who she truly is and is humiliated. Act II: Antonia Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to go find Antonia for him. While Hoffmann expresses his joy over being reunited with Antonia, Nicklausse tries to temper his excitement with a reality check, which Hoffmann brushes off (he does this a lot). Nicklausse then sings a lovely song about the power of art and love (which is really a love song for Hoffmann), but once again Hoffmann ignores him. Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that Antonia is dangerously ill, and gives him two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Act III: Giulietta Venice. The courtesan Giulietta is having a party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards

Hoffmann mocks them with a song of his own condemning love and romance. Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) As if summoned, the Captain Dapertutto arrives and introduces himself, ominously revealing that he knows who Hoffmann is as well, and in general just acts creepy. Hoffmann and Nicklausse warily leave him behind and go to join the others playing cards. Once they’re gone, Dapertutto announces his plans to thwart Hoffmann with the help of Giulietta. He sings a diabolical aria and attracts the courtesan with a diamond, and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. (Here’s where the plot deviates, and the Oeser parts from earlier don’t appear at all.) The guests return looking for Giulietta, who sings a song for them as they play cards. Hoffmann gets distracted by Giulietta and gives Nicklausse his cards. Giulietta seduces Hoffmann and convinces him to duel Schlémil to get the key to her bedroom. Hoffmann does and kills Schlémil. Nicklausse finds Hoffmann and, learning about the duel, begs Hoffmann to leave with him. Hoffmann refuses, wanting to see Giulietta. Nicklausse leaves to find a means of transportation. Giulietta returns and continues to seduce Hoffmann, who falls for her completely. She asks for his reflection as a keepsake; he’s helpless to resist her. Dapertutto returns; Giulietta relinquishes Hoffmann to him. Nicklausse returns as well, in time to find Hoffmann has lost his reflection. Once again he begs Hoffmann to leave, but Hoffmann refuses, still insistent that Giulietta loves him. The chorus returns, mocking Hoffmann for being duped. The police arrive to arrest Schlémil’s killer. Furious, Hoffmann attempts to stab Giulietta, but misses and kills Pitichinaccio, who is revealed to be her real lover. Giulietta despairs over his body, and Nicklausse finally manages to drag Hoffmann away. (There is no Septet in Kaye edits.) Epilogue Back at the tavern, the students sing a disbelieving chorus as Hoffmann finishes his tales, telling him to come back to reality. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down. He then encourages everyone (including himself) to get blackout drunk. The chorus of the Spirits of Wine and Beer from the prologue returns, creepily overlapping with the students’ drinking chorus. Stella enters looking for Hoffmann. Hoffmann drunkenly mistakes Stella for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. Hoffmann begins to sing his Klein-Zach song, mockingly dedicating it to Lindorf, before falling in despair. The students exit the tavern, singing their song once again and leaving Hoffmann alone. (Sometimes Stella gets an aria here, basically telling Hoffmann “you don’t know what you’re missing by rejecting me.”) Nicklausse returns and reveals his identity as the Muse. She declares her love and devotion for Hoffmann and asks for his in return. The Muse serenades Hoffmann with a comforting refrain: love makes a man great, but tears make him greater still—his suffering is not in vain, but will make him an even greater artist. (Sometimes the final chorus is extended, with comments from the other characters announcing that the future is his.)

And there you have it!

As mentioned before, there are a ton of variations on all of these. Choudens edits and short Oeser edits are often very similar, but even they will have random chunks cut here and there, sometimes move things around, and of course it’s always a toss-up which aria Niclausse is going to get in Act I and if he’ll get the Violin Aria.

If you got to the end of this, kudos. Seriously. I could barely make it through, and I elected to write the thing.

[bywordofaphrodite]

Book Reviews 3&4: Nancy Drew and the Lilac Inn by Carolyn Keene & Trixie Belden and the Secret of the Mansion by Julie Campbell Tatham

This review’s theme is girl detective books ! Audience age range: roughly 12 and up !

Just as Enid Blyton’s books made me fall in love with magical creatures and faraway lands, detective novels became an obsession during late primary school, with classic lead female characters Nancy Drew and Trixie Belden being my absolute favourites. My school had an extremely small and limited library, and the Nancy Drew books were one of the only decent series there- even with a great chunk of the collection missing. My mother introduced me to Trixie Belden, which she insisted was better than Nancy Drew, though I refused to listen to such a declaration at the time.

Now, though? My opinions have definitely changed.

Nostalgic review

Rating: ★★★★★

From memory, Nancy Drew is a clever, beautiful and well-off girl in her late teens, living with her lawyer father Carson Drew and her housekeeper Hannah Gruen, who has looked after Nancy since her mother’s passing when she was only three. I always enjoyed the dynamic between Nancy and her father, as it was similar to mine with my father, also a lawyer- Carson doesn’t step in unless Nancy needs his help, but he does assist in legal advice when necessary. I also loved Nancy’s friendship with the cousins Bess and George, and liked that her relationship with her ‘special friend’ Ned never got in the way of solving mysteries or hanging out with her friends (‘hanging out’ was practically code for sleuthing in these novels anyway). Overall, my memories of this series amount mostly to exciting searches for missing heiresses, finding beautiful jewels and battling crocodiles in Florida.

On the opposite side of the spectrum is Trixie Belden- rough-around-the-edges thirteen year-old from a poor family living with both her parents and three brothers. Where Nancy has a housekeeper, lives in an affluent suburban neighbourhood and never wants for money, Trixie lives on the outskirts of a small town, both her parents work, and she is constantly reminded of how important it is to work for money as they do not have much of it to spare on mindless things. Nancy is a fairly solitary character, often working alone unless her friends show up, and even then she does most of the legwork; Trixie is also the main sleuth in her series, but her best friend Honey is almost always at her side. While the mysteries were great, the warm friendships in Trixie Belden novels are what I remember best.

Regardless of whatever my thoughts may be after rereading books from these two series, I’ve never ceased referencing either of them and my love of the mystery genre still holds fast even now.

Nancy Drew and the Lilac Inn Review

Post-read: ★★

Synopsis: girl detective Nancy Drew is called to solve a series of odd goings on at her newly engaged friend Emily’s inn, in what seems to be an attempt to prevent Emily and her fiancé from opening. Disaster strikes when her aunt retrieves Emily’s inheritance of diamonds- Emily’s last hope to cover the costs of fixing up the inn- and they are swiftly stolen within the hour. Nancy vows to catch the thief and the intruder and save Emily’s inn from failure.

I struggled in choosing which Nancy Drew book to reread for this review, and after reading through multiple rankings lists I decided on the Lilac Inn because it ranked highly on every list. I now wish I had just gone with Crocodile Island anyway… at least there was something snappy about it. In between the bomb, the theft, the doppelganger, the underwater fake-shark, the kidnapping, the spear-gun attack- I think I’ve made my point. There’s far too much going on, and if it was well-written I would be okay with it, really I would, but it’s all so blandly articulated that half the time I had to reread just to make sure I’d read correctly what nonsense was occurring at any given time.

Straight out the gate, I just want to say how shocking the writing was- that’s shockingly bad, by the way. If I thought Enid Blyton’s work was stunted, well, this was far, far worse. Especially since it lacks the excuse of being written for young children. It was incredibly difficult to push through in the slower parts, and I must admit I basically skim-read the lead up parts to the action sequences (which were incredibly minimal compared to the gnashing crocodile teeth I longed for, but alas). Sadly for me, Bess (my old fave), George and Ned were not present at all, and I cannot remember if they had actually been introduced that early in the series because they are not mentioned once.

I did really like the concept of the story, and the element of Nancy having a creepy doppelganger posing as Nancy to cause mischief (she has several over the series) was fun, even more so that said doppelganger was an actual actress and quite ruthless in her attempts to steal Emily’s diamonds- I love a morally-corrupt pretty female villain as much as the next person, after all. There is a romance teased between Nancy and a young man staying at the inn, a young man who continuously seems to be in the same room as the diamond thief messing with Emily’s inn, but ultimately both never amount to anything. This hardly surprised me given the book is written in the thirties, and Ned and Nancy never do anything but attend dances together the entire series, but still, come on. He could’ve at least stolen the diamonds to add some spice to his useless appearances.

It’s possible that were a very talented scriptwriter to take this book and make it into a movie it could work out a lot better than it does on paper- provided the casting was done well. The sets would be interesting, and I think the creepiness of the ‘ghost’ in the orchard and the diving scenes would translate a lot better on camera. Normally I’m not one to nominate live actions of novels for no reason, but this thought kept recurring as I struggled to get through the writing.

Characters who aged well: Nancy is smart and weirdly good at everything (they don’t explain why she knows how to do all the things she does, but diving and freeing herself from bonds seems to be easy enough for her. Given male characters are always allowed to be perfect without training, I’ll allow it). For a female character written in the 30s she has plenty of agency and does not once rely on a man’s help to do anything, which is why I always enjoyed her books. Carson Drew also aged well- not present that often, but useful without being interfering, and his trust in his daughter is refreshing. As for the other main characters in the series… they didn’t even show up in this book so I can’t really comment on this.

Characters who aged badly: plot twist- I’m adding Nancy here too. She is a little too perfect, too polished, a common criticism by modern readers, though at the time of publication was her main selling point. Additionally, earlier editions of the series featured racist comments made by Nancy, although those have since been taken out. However, the publisher and creator of the first books was not a very pleasant person, so I find myself able to separate that from Nancy’s character.

Favourite scene/quote: ‘The article went on to tell that Nancy had just completed a course in advanced skin diving in the Muskoka River, and that she had finished first in total points in the twenty student group’.

I find this quote amusing because there is really no need for Nancy to be good at every single thing, and this is a good example of the many times throughout the series that Nancy is the ‘best’ at a very random activity that is often never mentioned again.

As for my favourite scene, though nothing interesting actually ends up happening in the orchard, I did like the eerie setting of Nancy dressing up as a ghost and chilling behind a tree for a while (okay it was partially eerie, mostly just oddly comedic). The actress/impostor posing as Nancy provided a few good scenes, too, but for the main villain of the story she was hardly in as many scenes as she should’ve been in.

After doing some research, I discovered something most interesting: Nancy was written with significantly more character by the original ghost-writer of the series, a woman named Mildred Wirt Benson, who wrote Nancy ‘embodying qualities that she wished she had’- but the publisher Edward Stratemeyer did not want a bold female character, and she was rewritten with similar dialogue but now accompanied with ‘dainty’ verbs to sweeten her words. Stratemeyer was also known for his beliefs that women belonged in the kitchen, and the only reason he created Nancy in the first place was to capitalise on young female readers who wanted their own equivalent of the Hardy Boys.

With all of this in mind, it’s very possible that the Nancy from my memories is a mix of the older and new editions, which allowed Nancy more personality as the series went on, no longer needing to confirm to the sexist expectations of the 1930s. And despite these origins, Nancy Drew aged quite well as an unintended feminist icon: she solves her mysteries alone and rarely needs Ned’s help at all; in fact, most of the time, Nancy is the one doing the saving. It’s nice to think that, almost one hundred years later, Mildred Wirt Benson’s version of Nancy is the one being kept alive, both on paper and onscreen.

Trixie Belden and the Secret of the Mansion Review

Post-read: ★★★★★

Synopsis: energetic teen Trixie Belden’s boring town of Sleepyside is turned upside down when a rich new family moves onto the property opposite her own, an old miser winds up in hospital and his empty mansion is suddenly inhabited by a runaway boy, and a missing fortune is waiting to be uncovered.

Whewww.

This was a massive breath of fresh air after the Lilac Inn! After being so unimpressed by both Blyton and Keene’s writing, Tatham’s writing restored my faith in my childhood judgement. Her words flowed well and the conversation between the characters was very natural. The blank slate characters in the Lilac Inn were showed up by the animated and multiple-dimensional characters in the Secret of the Mansion, and I never once felt the need to rush myself through the chapters.

Unlike my method of choosing a Nancy Drew book, I simply decided on reading the first Trixie book for this review. While I almost went for a later book where all the main characters had been introduced, I couldn’t remember how Trixie first met Honey and Jim, which I felt was pretty important to her character. I’m very glad I did. Even in the first book, Trixie endures so much character development (contrasting very strongly with Nancy’s flawless existence). Longing for a friend, Trixie takes herself up the hill to the newly habited mansion to introduce herself and her little brother Bobby, who she is babysitting to earn money to buy herself a horse. There she meets rich girl Honey Wheeler, a sickly and sheltered but sweet girl of the same age, whose parents pay little attention to her. Things fall into place with all the expected luck of a teen heroine- Honey’s governess is a lovely woman who wants Honey to befriend Trixie and offers to look after Bobby, and of course Honey’s stables are now filled with horses and a stable hand who can teach her to ride.

But for every easy thing comes an opportunity for Trixie to grow: she comes to admire Honey’s bravery after previously being irritated by her fear of trying outdoor activities; she ignores the stable hand’s orders not to ride the stallion and falls as a result, leading to her having to work to regain his trust and also being taught the valuable lesson to recognise her own limits; finally, as much as Trixie hates looking after little Bobby, when he is bitten by a snake Trixie is resourceful and quick on her feet in helping him, keeping him well enough until a doctor and other adults arrive.

Rather like the Lilac Inn, the mystery of the story centres on the hidden will to a supposed fortune of the elderly man who lived in the old mansion not far from Honey’s new home. On a whim, Trixie nags Honey into accompanying her to snoop around the building, leading to their discovery of the old man’s nephew Jim hiding there. By the end of the book, the girls have helped Jim to find the will and safely escape his abusive step-father. Later in the series, Jim is adopted by the Wheeler family, and also becomes Trixie’s primary love interest (I love that this relationship is not at all rushed either).

The reading level for the Trixie Belden series is listed as grade 3 and above, but I had no problems being completely involved and intrigued by the storyline and characters as a twenty-three year old. I think I’ll continue to read the series on my own time, as I always enjoyed the full character line-up developed after a few books in.

Characters who aged well: Trixie! If my praise during this review didn’t make clear enough, she’s a wonderful character with great development. Honey and Jim are also solid characters, and Bobby and Trixie’s parents are well-written too- supportive and kind, but realistic concerning raising Trixie to be a responsible kid. Also going to add that Trixie’s group of best friends- self-named the Bob-Whites of the Glen and consisting of her two older brothers Brian and Mart, Honey, Jim and the later additions of Dan and Di- have a strong presence and very distinct personalities when they show up in the later novels.

Characters who aged badly: nobody! All the side characters were well done, including the villain. He wasn’t over-the-top by any means, his abuse of Jim was both emotion and physical in a realistic manner that concerned the adults around him enough to comment on it without actually taking proper action to help him, as it often goes. I appreciated the author’s ability to write a male character the vulnerable one, to recognise what was wrong about the situation, and to gladly accept help from two girls younger than him.

Favourite scene/quote: “‘serves him right,’ Trixie said, wiping her grimy hands on her rolled-up blue jeans. ‘The mean old miser. You should have left him lying in the driveway, Dad.’”

An earlier quote in the book, this sets the tone for Trixie’s character: she’s messy, no-nonsense and cheeky. For a female character written in 1948 I found this quite amusing. There’s none of the internalised misogyny that often popped up in ‘tomboy’ characters of the time: Trixie just is what she is, and she’s great.

A standout scene would be Trixie sucking the venom from her brother’s snakebite to save him, and the chapters focused on the developing friendship with Honey and Jim while the two teach Trixie how to handle horses is also enjoyable.

Overall verdict:

My mother was right, Trixie Belden is far better than Nancy Drew in every category I can think of. I wish that the series had gained the popularity that Nancy Drew did, because it would make for a fun movie or television show. There is an eighteen year gap between the publication of the first novel from both series, and both heroines saw many more books written after that. Nancy Drew is so persistent, however, that multiple movies and even a recent CW show have been made, though it is not very accurate to the books at all. Even now, modern-day setting Nancy Drew mysteries are still being released under the Carolyn Keene pseudonym, showing her unending mythical status.

I still love Nancy, bad writing and all, but in all fairness, Miss Trixie deserves a cut of the nostalgic hype surrounding the girl-detective genre. I’d also like to bask in the poetic justice of Nancy not only remaining a more iconic character than the Hardy Boys, but also becoming more feminist as time goes on. I’m sure the publisher is rolling in his grave!

[miralia]

Speculation on the symbolism in new Inazuma characters

So, I've been watching and rewatching the Version 2.0 Genshin trailer a lot, and I've noticed some things. I've done a bit of theorizing about Genshin in the past because there's a lot of unexplained lore, and I really wanted to talk a bit about the new Inazuma characters we've been given sneak peeks of (specifically, the symbolism behind some parts of their designs)!

This post is only going to talk about a few small things I noticed, so I would recommend watching this video for some more comprehensive speculation.

So, the first thing I noticed was a common thread tying a number of the character's designs together: a kind of large pendant necklace detailing a flower inlaid inside a gold circle.

Yae Miko:

On her chest is a golden pendant with what looks like a purple cherry blossom or similar flower. This would make sense, as there are cherry blossoms all over her design and sakura trees around Nakarumi Shrine, where Yae is a shrine maiden.

In Japan, cherry blossoms symbolize the spring, purity, gentleness, and the fleeting nature of life. I don't know if that's going to mean anything for Miss Yae or if I'm just over-analyzing, but yeah.

Anyway she's really pretty and my fave character so far.

Kamisato Ayaka:

There is something similar to Yae's pendant necklace on Ayaka's design, but it is incorporated into her clothing rather than being a piece of jewelery. To represent her deviation from the norm and refusing to give up her vision, perhaps?

The flower appears to be a stylized camellia.

In Japan, camellias are known as tsubaki and were popular with nobles during the Edo Period, which is on brand considering Ayaka is a noble and Inazuma ~seems~ roughly Edo/slightly pre-Edo. This flower represents a noble death for samurai and warriors, but it also means love. I'm chosing to go with the latter meaning.

Interestingly enough, you can see the same camellia motif throughout what I'm assuming to be the interior of the Kamisato Estate.

Reading a little deeper into color meanings, blue represents calmness and passivity in Japan, while gold represents wealth and status. This, too, seems on brand for Ayaka and the Kamisato clan as a whole.

UPDATE: So, Ayaka's character demo is out and literally has "camellia" in the title. So I'm not that smart and deductive after all. Or maybe I am. Who knows. I'm not even sure why I'm posting this.

Yoimiya:

Yoimiya actually doesn't seem to have a flower displayed prominently on her design like Ayaka or Yae, perhaps because she isn't high-ranking. But there does seem to be a flower on her fireworks.

The white flower on the crates could just be a stylized firework, or it could be a flower. Either way, I haven't found what flower it could represent. Perhaps a morning glory? If you're reading this and have an inkling, please tell me!

Despite not having a flower on her design, Yoimiya does have another repeating motif; that of a koi fish.

You can see one on the bag hanging from her hip, and she has one tattooed on her left arm. (Additionally, her special dish is shaped like koi fish, but I'm not going to put a picture because it hasn't been officially released yet.)

In Japanese culture, koi represent luck and courage. In regards to her tattoo, the koi seems to be swimming upstream, which can mean one of two things according to one source:

- You are currently in a battle or struggle and are still fighting obstacles but won’t give up.

- You have overcome obstacles and have now gained the strength you need to continue against the current.

Either of these meanings could apply to Yoimiya because we don't know much about her yet. (Also keep in mind that the statements I'm making could definitely be innacurate and feel free to correct me if you know otherwise.)

Sayu:

This little cutie is a bit of a mystery to me as well.

We can see a repeated motif of a small four-petaled flower on her design. But as with Yoimiya, I am not well-versed in stylized flowers and can only guess that this could be maybe a hydrangea.

Hydrangeas have many different connotations in Japanese culture.

White hydrangea: tolerance

Pink hydrangea: feminine cheerfulness

Hydrangeas can also mean friendship, family ties, or humility. Since we don't know a lot about Sayu yet, I can't be sure if the flowers on her design are hydrangeas, and if they are, what connotation they have.

Sara:

She's a bit of a mystery as well, ehe. It's obvious that the gold-and-black pendant on her chest is is similar to Yae's, but the flower is less recognizable, at least to me. It might not even be a flower. I have no idea what it is, so if you have an inkling, please share what you know!

You may have noticed that I didn't include Gorou, Kokomi, or Raiden Shogun. That's because they don't have the same thread of flower imagery that is in the ones listed.

I've had this in my drafts for a while, and just managed to post it before Inazuma. So, yeah, please tell me if I'm wrong. And hope for a banner with Yae soon!

Sources:

There are definitely more than this, but these are the ones I remembered to put down.

https://www.color-meanings.com/color-meanings-japan/

http://blogs.evergreen.edu/daysmore/japanese-symbolism/

https://tatring.com/tattoo-ideas-meanings/Japanese-Koi-Fish-Tattoo-Meanings

https://en.spiritualism-japan.com/meanings-hydrangea/

[bronanlynch]

I enjoyed doing this last week so this is. a thing now I guess. click through for roundup of whatever media I’ve been into in the past week (will normally be on thursdays I think bc that’s the day I’m usually free but my schedule this week was weird) (inspired by the tuesday again thing that @girlfriendsofthegalaxy does)

listening: the new Mountain Goats album Getting Into Knives is very fun and full of bops, for a given value of both “fun” and “bops” because it’s The Mountain Goats so it does have that edge of depression but quite a few of the songs are a bit more. cheerful? than a lot of their other stuff, for lack of a better word

favorite track is probably The Rat Queen

listening (podcast edition): this very fun episode of Overinvested tearing apart the new movie adaptation of Rebecca which I have not seen and was not planning on seeing but I do enjoy people smartly analyzing why things aren’t good and also I do love discussions about Gothic romance

reading: The Mermaid, the Witch, and the Sea by Maggie Tokuda-Hall is probably a very good book that someone else will enjoy very much, as lots of people whose opinions I generally trust already have enjoyed it. and I possibly will enjoy more if I give it another chance, once I’ve gotten over being disappointed that it wasn’t what I was looking for right now. the premise is neat! the worldbuilding is cool! the characters are interesting! mermaids, witches, and seas are three of my favorite things and also there are pirates, my other fave thing!

the reason I bounced off of it so hard is that I kept seeing it hyped up as a trans/nonbinary book, and then felt kinda let down when I started reading it and realized that the main character whom I’ve seen described as genderqueer is 1) dressing as a guy because someone else suggested it for safety reasons and 2) this was several years before the story starts and this character still refers to herself exclusively (disclaimer that I didn’t read the full thing but. as far as I got and also I skimmed toward the ending) as she and by her feminine birthname. and those things are fine, that’s a valid gender story, nonbinary people can absolutely keep their old pronouns and names and it doesn’t make them any less nonbinary, but the way it was framed in the parts that I read felt to me more like the old classic ‘girl dresses as guy for plot reasons’ thing, which isn’t something I personally wanted to read more of right now, especially not when I went in expecting something that would resonate more with my gender experience

watching: I’ve been rewatching Leverage, since I only ever watched the first season many years ago because that’s what was free on hulu at the time, and the thing that’s really getting to me is how fundamentally hopeful it is. like, yeah, sure, the premise of it is about how capitalism is designed to fuck people over and there is A Lot about specifically health insurance being really really awful. so there are parts of it that are a lil bit too real, but then at the end of the day they always win and punish the rich capitalists and help their victims and it’s just. nice to see that kind of happy ending

the specific episode I’m having lots of thoughts about is the Mile High Job, which is about the team is trying to protect a potential corporate whistleblower from being murdered by her coworker while on an airplane. at first they’re not sure what’s going on because they weren’t expecting two people from the corporation to be on that flight, so they don’t know which person is the one they should be focusing on. one of them is an anxious younger woman and the other is an extremely generic man, and from the moment they decided that the woman was the one they had to protect I was dreading the plot twist of “no actually you just helped her take out her target and you should’ve been protecting the other guy” which would’ve felt just. so mean-spirited and cynical but it’s the kind of thing I expect from media I guess. and then once it was clear that nope, that twist wasn’t going to happen, I expected her to turn around at the end and be like “actually no I’m not gonna testify against the corporation because I’ve realized how dangerous it is.” and I kind of hate that I’ve become so jaded by both media and also the real world that I’m so ready to expect the most cynical option, because I’m not used to stories about how even though the system is corrupt and oppressive and exploitative, people can still help each and they do and sometimes they make things better

playing: got back into playing Dishonored after taking a couple weeks off because I got stuck and frustrated and also kept playing for too long at a time and giving myself headaches. Lady Boyle’s Last Party (which I am going to completely and entirely spoil so if you don’t want that this is your warning) is probably the mission that I have the strongest mixed feelings about. I love the approach to the party, I love the concept of sneaking into a masquerade ball, I love signing the guestbook with your actual legal wanted fugitive name while wearing the mask that you commit all of your crimes in, I love a good fancy party mission I cannot stress that enough it’s the sexiest possible setting

HOWEVER. trying to sneak around upstairs fucking sucks because the ceilings aren’t high enough for there to be places to hide, like convenient hanging lamps or pipes to blink up to. my least favorite room in this entire game is that art gallery because you can get on top of the cases and you think you’re safe because you’re Up but then the guards spot you instantly and sound the alarm and the entire party shuts down and then you let them kill you so that you can go back to your last save

ADDITIONALLY, fuck the nonlethal option for this one. I hate it so much and feel so incredibly gross about choosing it but I also feel extremely not great about tricking her into meeting me alone and then actually assassinating her. the conversation is so uncomfortable that I tried to be like “actually no nevermind” which causes her to think you’re weird and creepy and she has the guards ““throw you out”“ which apparently in Dunwall is just how you say that she’s gonna have the guards murder you. but anyway. she's a shitty rich lady but she doesn't deserve either of the things that could happen to her and she's only a target because she's sleeping w a guy who sucks. she hasn’t done anything! she isn’t actually responsible for what happened to Jessamine or Emily! which works on a narrative level in my opinion because this is the last mission before you go after the lord regent and it’s becoming clear that the loyalists are just using Corvo for their own agenda and don’t actually care about Jessamine. but it’s still unpleasant to be the one enacting it, y’know?

also on a narrative level, I really like the concept of doing a clean hands run except killing each of the actual targets, because I feel like that would be a cool inversion of the trope where the hero kills a bunch of mooks and then refuses to kill the big bad because murder is wrong. on a gameplay level, I’m still gonna do the nonlethal options because I refuse to risk getting the bad ending, and I’m proud of the fact that I haven’t killed anyone since getting out of prison. I do wanna do a high chaos playthrough at some point though just to see how it goes, since I went low chaos last time too

sorry for writing an entire essay about Dishonored but. the funniest thing from that mission is that apparently if you get spotted by one of the maids in the basement where you are not supposed to be (the guards will immediately attack if they see you) instead of raising the alarm she just says “welcome to the party.” love that solidarity.

making: none of my cosplay stuff is at an especially picture-worthy stage and I didn’t get pictures of the pesto I made for dinner last night so there’s not gonna be much that’s interesting here but I did go to Spirit Halloween after Halloween when everything was on clearance and got a bunch of stuff that I’m gonna use for cosplay eventually

writing: soon I will finish the Eddis/Attolia Queen’s Thief fic that’s been rattling around in my brain ever since I finished the last book. hopefully.

[alexiaugustin]

do u have any booktuber recs? 😇 i used to watch a lot when i was younger but stopped for a few years so now i would like to get back into it but don't find myself enjoying the ones i used to watch anymore (mostly bc they're so uncritical of everything & blindly stan series/authors, ya know the big names)

omg ofc!!! i love this question so much because booktube are literally the only youtubers i actually watch and enjoy content from!!🌼 and in case u don't like mainstream booktube welcome to my life let me introduce u to the most critical but fun n unique booktubers i know

💘 paperbackdreams she's my absolute fave of all time and i've been watching her videos for years now and i still get so damn excited everytime i get a notification for a new video of her. she makes the absolute best rants and has the most brain cells on youtube yet all of her videos are so damn cute and her energy is so chaotic n fun you just watch all of her videos n just have to smile. her sister and dad sometimes join her for videos and those are just so chaotic and funny too plus kat introduced me to "radio silence" because she fangirls about them for months (and still does until today) and now radios silence is one of my favorite books sooo. she doesn't give books five stars that often but when she does you can count on them to be THE shit. just listen to what she says she has the best taste. here’s my favourite video of her i was just laughing for the whole video straight so y’all have to go n watch it too

💘 caleb joseph he's just my unbothered king. there's just smth about his whole entire attitude and voice whenever he makes fun of books he absolute hates. im telling you know he drags them to hell and back in the absolute funniest way. additionally, he made a video called abuse in books ain't cute y'all ya nasties and he himself tries to write the worst book of all time so yeah... i love him!!!

💘readwithcindy i dunno how to explain this to you but she and caleb have such similar vibes and i just love her so much. the tone of all her videos is so light n fun but she also makes sooo many points, the titles of her videos alone already crack me up + she raises a lot of awareness of racism issues especially in ya books, she's very eloquent a d also reacts to some movies/ tv shows and u can probably tell that i rly love her

💘inquillery victoria is just such a lovely person i've also been following for years and even though she likes a lot of books i personally can't stand her content is super sweet, she always expresses her opinions rly respectfully and she writes songs about books which is how her channel blew up and most of us got to know her. for real check out her songs she's so damn talented

💘 a dash of ash she's just so cute!! just look at the aesthetic of all of her thumbnails for a lil while!!! im by far not as invested in her channel as i am with the other four but I rly enjoy watching her videos once in a while and want to start watching her videos more often now. her videos just make me so happy and imminently make me wanna grab a book amd start reading too!!

💘 cari can read she's pretty new to booktube and i've only watched her rant about the racism in eleanor & park yet but the video was super great, she's super calm and chill but makes a lot of points and she uploaded a video called book inspired baking i wanna watch next so in case u like booktubers who combine books with other stuff like baking or vlogs or smth like that she might be the one for u!!

that's it for now🌼

[comicteaparty]

April 20th-April 26th, 2020 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from April 20th, 2020 to April 26th, 2020.  The chat focused on Only In Your Dreams! by Tuyetnhi Pham.

Featured Comment:

Chat:

Comic Tea Party

BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Book Club~! This week we’ll be focusing on Only In Your Dreams! by Tuyetnhi Pham~! (http://oiydcomic.com/)

You are free to read and comment about the comic all week at your own pace until April 26th, so stop on by whenever it suits your schedule! Discussions are freeform, but we do offer discussion prompts in the pins for those who’d like to have them. Additionally, remember that while constructive criticism is allowed, our focus is to have fun and appreciate the comic! Whether you finish the comic or can only read a few pages, everyone is welcome to join and chat with us!

DISCUSSION PROMPTS – PART 1

1. What did you like about the beginning of the comic?

2. What has been your favorite moment in the comic (so far)?

3. Who is your favorite character?

4. Which characters do like seeing interact the most?

5. What is something you like about the art? If you have a favorite illustration, please share it!

6. What is a theme you like that the comic explores?

7. What do you like about the comic’s story or overall related content?

8. Overall, what do you think the comic’s strengths are?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Eightfish (Puppeteer)

5. I like how distinctive the character designs are! The mcs are both very unique and recognizable

8. It doesn't take itself too seriously, but it also explores some real neat concepts

the story is full of personality

carcarchu

the comic's not loading for me shakes fist at wifi, gonna try again tomorrow but i just wanted to say the look of the site is really cute!

Joichi [Hybrid Dolls]

Got the chance to read it So here are some of my thoughts: 1. I like the romantic atmosphere that the comic starts off with warm colours and it gives a vacation ad sensation? 2. My favourite moment is in the pink strange dream world, the colours contrast to the reality of Cara. 4. Fave moment: When that mystery guy shows up and he had corny lines like a romantic parody. It seem so fantastical. 5. I like the colour palette choice of brown tones, shades of pinks. 6. I think the theme is about expectations (it's not clear atm), how Cara is distancing from real relationships and prefer to indulge. 7: I like how the creator shows Cara looking scared of confronting things. It sets an interesting tone of uncertainty. Is she hiding something?(edited)

keii’ii (Heart of Keol)

I'm super curious about the situation of Cara not remembering her past dreams with Richie, and how that ties into the theme.

shadowhood (SunnyxRain)

1. I like how I don’t know what to expect. I also like how the premise is relateable; the idea that you are scared of imperfection making you have high standards in life hit close. 2) Every single time we’re treated to....Tuyetnhi’s lovely use of expression. Also the end part of episode 2, because that’s when I realized it’s going to get dark. 3) A tie between Ana and Richie. Ana because she makes me laugh with her blunt assertions (which...aren’t wrong) and Richie because he’s so flamboyant and extra. I love how much personality they all have. 4) Hands down Richie and Cara. They have a really hilarious dynamic going on. 6) The idea that people seek perfection through their dreams instead of facing reality. Also I really liked how it tackles society’s fixation on everyone to find someone....maybe Cara doesn’t need that and needs to focus on herself first? 7) That I won’t know what to expect. I came into this thinking it was going to be a classic romcom, and then I get hit with implicit horror and trippyness. I have a feeling Tuyetnhi is hinting at some darker aspects of the story we have yet to see. 8) Good lord the expressions. They really do the story justice and make me turn the page every time. Also the colours are beautiful.(edited)

(Whoops sorry keiiii)

7) two moments actually!

The fact that their wide eyed sweaty expressions matched made me laugh really hard

And also Cara’s quick acceptance of the situation was so unexpected and hilarious I took a double take. Also props to the colour dissonance; that looks like meme material right there!

Tuyetnhi (Only In Your Dreams!)

yeah. I want to make it clear that Cara is like "This is really not my day." lol

shadowhood (SunnyxRain)

Well....you portrayed that sentiment perfectly

Joichi [Hybrid Dolls]

Omg yes the wide eyed expressions were also making me laugh! Well that was an expression I didn't expect coming into the story(edited)

I was wondering if that was suppose to be serious or humorous?

Tuyetnhi (Only In Your Dreams!)

both LOL

shadowhood (SunnyxRain)

I see the horror you got going there Tuyetnhi Reminds me of...I dunno Jojo?

Tuyetnhi (Only In Your Dreams!)

well............ yes and no lol

shadowhood (SunnyxRain)

But I can’t wait to see what’s going to happen

Although...if we’re going by the silhouette....is she scared of herself?

WHAT DOES THAT MEAN

Tuyetnhi (Only In Your Dreams!)

C:

Joichi [Hybrid Dolls]

I like that sense of not knowing what's happening? :)(edited)

Tuyetnhi (Only In Your Dreams!)

that will be coming up in Ch. 3 soon

so please wait till then thank u lol

Joichi [Hybrid Dolls]

So far it's tough to choose a fave character right now since I feel the story has just started its first segment. I would like to wait until more content is shown before I can make a firm choice? (I'm analytical, I like to go over OCs flaws and strengths once I know more about them)(edited)

I'm curious to learn about her ex crush, since we only get a glimpse of how Cara precieve him. But what is Dean really like? *Drum rolls(edited)

Tuyetnhi (Only In Your Dreams!)

you got.... good questions

it will be rewarded.... later on LOL

mariah (rainy day dreams)

1. What did you like about the beginning of the comic? I really liked the colors and island vibe. And this was even before Animal Crossing came out and I started hardcore living that island life I just love a good, soft pink to purple gradient generally speaking so the opening of the story was like falling into a comfy brain pillow for me. 2-4 I'm just gonna answer these ones kind of all together because they thoughts on then are all kind of threaded together into one big thought. After having read through the archive I really liked the scene with Ana and Cara. When I first read it I was like "dang, she's giving Cara such a hard time," but after having read the scenes where Cara just refused to admit to Richie she doesn't know what's going on I really retroactively appreciated Ana's willingness to call Cara on her bullshit XD I think it's a really good foil trait to have for a protagonist who seems dead set on avoiding confrontation even though it seems like doing so is most likely just gonna come back to bite her later. I imagine we aren't going to see Ana for a while though unless Cara is able to use her Phone A Friend card in the dream realm XD I am also looking forward to seeing more of the Cara doppelganger and how she and Cara interact with each other going forward. That feels like an exciting and drama filled mystery

Cronaj (Whispers of the Past)

1. What did you like about the beginning of the comic? I also love the atmosphere. The color choices are just so beautiful. 2. What has been your favorite moment in the comic (so far)? Ana pointing out Cara's BS hahahaha. 3. Who is your favorite character? Definitely Ana. She's so down-to-earth from what I can tell, someone I'd want to be friends with. 4. Which characters do like seeing interact the most? Probably Ana and Cara. I like to see good friendships depicted, especially in a romance. 5. What is something you like about the art? If you have a favorite illustration, please share it! In general, everything is so soft and pretty. I also really appreciate the fact that all the characters have larger noses. If I had a favorite panel, it would be at the beginning, the sunset beach waves. 6. What is a theme you like that the comic explores? So far, I'm not sure about themes, but I like the talk about the pressure parents give to their children to get married. 7. What do you like about the comic’s story or overall related content? There's a lot of mystery, so I'm looking forward to learning about Cara's dreams, Richie, and the key. 8. Overall, what do you think the comic’s strengths are? The visuals are really nice. I can't stop gushing about the color choices and the pretty atmosphere.(edited)

Joichi [Hybrid Dolls]

The way Cronaj sums up their thoughts on OiYD, I'm agreeing with the statement on Ana and Cara! Esp friendship part

Deo101 [Millennium]

I'll answer the questions hopefully later this week, but this song reminded me of the comic!!! https://www.youtube.com/watch?v=Q4z5ecLCvSQ(edited)

shadowhood (SunnyxRain)

@Deo101 [Millennium] damn that’s a good song

Tuyetnhi (Only In Your Dreams!)

Oooo

keii’ii (Heart of Keol)

He's definitely hot and extra

Tuyetnhi (Only In Your Dreams!)

lmao

Joichi [Hybrid Dolls]

My joke idea is that Cara is secretly in a reality show starring Richie and her and the bonds they play out is meant for a live broadcast. But she's clearly not agreeing to this(edited)

Tuyetnhi (Only In Your Dreams!)

oh god. i don't think that's good for Cara's mental state lmao

Feather J. Fern

Also I have to say, I do love how the first cover is literally Cara being the meme of "Oh no he's hot"

Tuyetnhi (Only In Your Dreams!)

fjdkalfdjdklfj

Feather J. Fern

Also I finally started it, while a bit late, I have to relate to Cara being an accountant.

Also I think my favourite panel is "Welp that worked"

Also I have to appreciate picking a pink that doesn't grate on the eyes.

https://gyazo.com/71fe22ea6ac2ebf6b3d85531c66bf8ed Another really good panel

Tuyetnhi (Only In Your Dreams!)

I enjoyed making that one LOL

shadowhood (SunnyxRain)

that face is one of my favourites not gonna lie

Feather J. Fern

I really like the surrealness of the story, can't wait to see what happens next

shadowhood (SunnyxRain)

same! I feel like something is about to happen

I'm also wondering how Richie would react to the real world

like....the ex. And her parents.

Tuyetnhi (Only In Your Dreams!)

soon™️

Feather J. Fern

More like everyone reacting to Richie XD

shadowhood (SunnyxRain)

Yeah pretty much

Like can Richie handle the world?

More like

Can the world handle RICHIE

RebelVampire

I like that the beginning really contrasts the dream and Cara's reality pretty quickly. I kind of feel it catches that feeling of coming out of a dream to face reality which kind of sucks, and also plays into the themes of dream vs. reality and expectation vs. reality. It's very easy to idealize things, whether as a route of escapism or just because it sounds appealing. But the reality of things generally is always different, and I like that we're seeing this full force in the comic through Cara's perspective. And the contrasts between the two really enhance those topics. My favorite moment in the comic so far is probably when Cara meets what I assume is Dean. Cause I really loved that both parties were kind of at fault, and I also liked how quickly that convo devolved into a grumpfest, because that felt very realistic. My favorite character right now is definitely Richie, because he is ridiculous and sympathetic at the same time. I adore his exaggerated personality, while at the same time feel sorry for him since for him the memories are clearly there and like...I would not want to be in the shoes of someone where the person they loved no longer remembered them. As for character interacting the most, Cara and Richie because that entire premise of one person remembering and the other not makes for a really tense and awkward situation. It's hard to tell where it's going to go. What I like about the art is the palettes of color chosen, since there's some beautiful scenery as well as fantastic contrasts when needed to make certain moments pop (like dream vs. reality).

As for the story content, what I actually like the most is that Cara is a flawed protagonist. I've read a lot of stories where the protagonist is always 100% right in the relationship and is just eternally the victim because society pressure. But Cara has a lot more going on, since she's clearly been at fault in some interactions, and while we can sympathize with people pressuring her into relationships, she also maybe takes it too far by being avoidant of basically every relationship. However, since she has these traits, I'm more invested into her personal dilemmas since she'll actually make mistakes when dealing with stuff. Which I think this is the overall strength of the comic. Cara is just a damn good protagonist who is easily likeable but isn't perfect and whose imperfections are not just brushed off so easily.

Tuyetnhi (Only In Your Dreams!)

;_; .... thank you.

snuffysam (Super Galaxy Knights)

I love the story so far! When I first started, I figured it would be some sort of awkward story where Richie comes into the real world and he has to figure out how to, like, act natural, and hilarity ensues. But holy cow, Cara losing her memories, and the slide into somewhat of a horror angle - it's not something I expected (though admittedly I could have read the synopsis lol), but it's definitely something I like!(edited)

Comic Tea Party

DISCUSSION PROMPTS – PART 2

9. Do you think the people around Cara were right to try and pressure her into a relationship? Overall, what do you think the comic has to say about relationships and the themes regarding relationship pressure?

10. Is what Cara experiencing dream or reality, and where is the line between them in this case? Additionally, why do you think her dreams have the potential to become reality as opposed to other people? Also, what is the overall message underlying these themes?

11. Is Richie really just a dream Cara dreamt up, or is there something more to him? If he somehow makes it to Cara’s world, do you think he’ll be able to adjust to that reality? Also, can he win Cara over?

12. What do you think the Cara imposter is about, and what does this have to do with the entire situation? Do you think Cara will eventually remember her dreams? Lastly, what do you think Cara has in store for her as the story continues?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

shadowhood (SunnyxRain)

9. I personally don’t think it was great of the people in Cara’s life to pressure her like that. Sure, they mean well, but it’s most likely bringing Cara’s self esteem down by a lot. I have a feeling that her dreams/reality colliding together is partially motivated by that; the pressure of pleasing society has made her....subconsciously take drastic measures?

10. I’m actually not sure! Maybe there’s a supernatural explanation to it, or it could all just be a dream. Dreams have a way of showing a person’s innermost desires or fears, so maybe Cara’s desires and fears are coming alive in response to external stress factors. So perhaps she opened a portal of sorts between the realms in some way (there’s a key!!!!).

11. Oh I’m thinking they might end up together. But the realist inside me thinks...perhaps what Cara needs isn’t romantic love, but more independent love and being able to love herself. What DOES worry me, however, is the fact that Richie seems...a bit desperate for Cara to like him. Is there a condition to his love after all? If so, that means that it’s possible he’s forced in some way to love her or make her love him. And that’s not really conducive to romance, is it?

12. Ah...the thing that makes me mystified the most. Cara seems to have a negative view of herself, since she told her to get out in the end of chapter two. However, Cara #2 seems to be pretty helpful; knocking on the door to tell her to get out of the house (which Richie has her in), so in a way letting her out. While our Cara seems to dislike her a lot, I think the key to the story would be our Cara needing to accept this double Cara to be really free. Maybe she will, maybe she won’t! But from what I can see from the story and like I’ve said earlier...maybe Cara needs to be able to find love within herself. Love for that Cara double, and enough love to become independent and not bend to society’s overwhelming pressure for outside romance. I hope she finds that as the story comes along, and know that it’s okay to not be ready for love.

As for Richie...hmm. He’s dealing with an amnesiac heroine, and adjusting to the real world. I’m sure it’s going to lead to some hilarious hijinks, but hopefully he can manage! He seems up to the task

RebelVampire

I think whether people were right to pressure Cara is a tricky gray area. On the one hand, no, they were wrong. Nobody should be forced into a relationship. But on the other hand, if you know a person is actively self-sabotaging, isn't it more correct to speak up? So to me this is maybe a situation of good intentions with bad execution. However, I do think overall the comic does say pressuring people into relationships sucks and plz don't do that cause that's how you make ppl run further away. I think it's both, because a dream is reality in a sense. I think many of us have had dreams that caused real emotional affects, whether negative or positive. So the line between them is merely the fact effects are limited. Cara have may have just found a way to cross that line and make a dream a tangible thing that has more consequences. As for why her dreams, I don't know. Maybe she's just super good at dreaming. I do think as the overall message though is that dreams are good but not when we get lost in them, because then we idealize and reject "reality" in ways that aren't healthy. I do think Richie is primarily something Cara dreamt up, but kind of not maybe. Like sure maybe Cara is idea creator, but something else was involved in making the physical reality of that idea. As for Richie adjusting to Cara's world, I'm sure it will be laughably hilarious. I do think he can sort of win Cara over, at least in the sense of being friends. Cause how can you hate Richie? I'm taking a shot in the dark and saying Cara imposter is the embodiment of Cara's missing memories but since they're just memories, all they can do is imitate. As for Cara remembering, I feel like it will be yes but I kind of want it to be no. I like the idea of them having to reform a relationship entire from scratch.

Tuyetnhi (Only In Your Dreams!)

Oo good impressions! I wish I have more to say but it would affect the story LOL. Enjoyed reading everyone's theories tho!

Joichi [Hybrid Dolls]

Ok my turn, let's see what my head theories are: 9: I felt the same annoyance as Cara but it's a mixed feeling, Even though, people shouldn't pressure a lady on her love life, she also has a problem with being in relationships. Or I remember one quote from the story was how she 'ditched her dates by rushing to the bathroom.' although I don't know her circumstance, I do know she has issues to settle too. Relationship pressure is real, especially as a young person grows older. 10. From the comic visuals, it feels much like it's her escapism dream. The only clue I got, is that her holding a literal 'key' connecting both worlds, is evidence that both world could collide. So far, we haven't seen other people's dreams, or whether this is an unusual occurrence in the world? It seems to be a message about idealistic relationships. Since Cara seem to turn away real ones, it manifested? 11. I'm curious about Richie's character too. He seems like a powerful imagination, enough to sway the lead, so he's more than a simple figment. I wonder if his submissive, flirtatious (?) personality was build in him. He doesn't seem to have a 'life' outside his dream house, or so far. 12. I'm not sure whether the 'Other Cara' might be trying to help her or is that.. actually a shadow side? I don't want to say too much, but it's interesting to see where the story goes.(edited)

shadowhood (SunnyxRain)

Oh! You make a good point about Richie; I never thought about that! Do you think maybe he's simply a part of Cara and eventually gains his own sentience/personality?

Joichi [Hybrid Dolls]

Hehe I like analyzing dreams :3 In dream theory, I feel he could be? I was more skeptical whether he should be treated as a real character or something else.(edited)

shadowhood (SunnyxRain)

man this does make me want to look up dream psychology

i have a feeling...Tuyetnhi is using some theories from that

Tuyetnhi (Only In Your Dreams!)

Hmmmm dream psychology you say?

I guess you can say there's some elements of that, but it's not a major chunk of it if that makes sense lol

Comic Tea Party

DISCUSSION PROMPTS – PART 3

13. What are you most looking forward to seeing in regards to the comic?

14. Any final words of encouragement for the comic?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Tuyetnhi (Only In Your Dreams!)

13. Maintaining the will power to finish OIYD! so I can see it as its end lmao. As a passion project but also something that I want to invest in when I have the time, I hope ya'll looking forward in reading Ch. 3 very soon lol.

shadowhood (SunnyxRain)

13. I really want to see how both Cara and Richie will develop as characters. Whether Cara will figure out for herself what being both independent means....and whether she does want a relationship for herself and not for other people. Likewise with Richie, I want to see if he'll be able to be his own person...and whether he's real or not. I have a lot of questions that I want to be answered, and I can't wait to keep reading.

14. Tuyetnhi, good luck on the webcomic. It's hard to start one and even harder to pull off a good one, and I know yours is a good one. I really look forward to reading more from you. You're amazing (edited)

Tuyetnhi (Only In Your Dreams!)

thank you

Joichi [Hybrid Dolls]

13. I'm interested in learning more about Cara's conflicts, why she is hesitant about having a real relationship vs her dream one? I love the unexpected dark twist that the story seems to be going. 14. I want to say, no pressure and take your time to complete the chapter. Just know you have my support and willing to read when it is ready. Good luck

RebelVampire

I'm looking forward to more Richie being Richie. Because he is an adorable person. And also because I'm waiting for some 'reality' culture shock. My final words are that this comic has a strong themes game going on and an intriguing premise, so it'll be fun to see where the comic is in a few more chapters since I'm pretty sure we're in for a wild ride.

Comic Tea Party

BOOK CLUB END!

Thank you everyone so much for reading and chatting about Only In Your Dreams! this week! Please also give a special thank you to Tuyetnhi Pham for volunteering the comic and creating it! If you liked Only In Your Dreams!, make sure to continue to support it via some of the links below!

Read and Comment: http://oiydcomic.com/

Tuyetnhi’s Patreon: https://www.patreon.com/oiydcomic

Tuyetnhi’s Ko-Fi: https://ko-fi.com/tuyetnhip

Tuyetnhi’s Twitter: https://twitter.com/tuyetnhip

[komatsunana]

My Yuri/wlw Manga Rec List

Heeeey I’m bored so I’m making a Yuri manga/webtoon/etc recommendation post of some of my faves that are underappreciated or deserve more love. Obviously this isn’t a comprehensive of all great Yuri series out there, just some that I enjoy & think are worth reading... And have (obviously) either read or are caught up on.

All of these are available to read as online scans, but I’ll indicate if you can legally purchase it in English as well.   I’ll also indicate if they are on-going as of April 2019.

There’s a lack of yuri series that aren’t set in a high school but I’m going start with all of those first, just to get them out of the way, but this list will mostly be dedicated to college and older aged characters.

Additionally, my recommendation of these series is not my personal endorsement of everything about the series. Don’t expect any of these stories to be perfect by any standards, much less Western standards.  Additionally, I try to give warnings for some series with dark themes: that is not me giving the series a condemnation.  Just a heads up for common triggers, that I caught and remembered to warn for.

A Tropical Fish Yearns for Snow (Nettaigyo wa Yuki ni Kogareru) by Makoto Hagino

Summary:

Konatsu Amano is a high school girl who has just moved to a seaside town in Ehime Prefecture after her father is transferred overseas for his job. Lonely and unsure of her new surroundings, Konatsu finds herself gravitating towards Koyuki Honami, an older girl at her school who is popular but is seen as out of reach by her peers who view her as too perfect. Koyuki is also the sole member of the Aquarium Club, which in turn makes her feel cut off from others. In an attempt to help ease Koyuki's and her own feelings of loneliness, Konatsu befriends Koyuki and the two gradually grow closer together.

Why I think you should read it:  This is SUCH a sweet but impactful series.  At a surface level read, it’s a beautiful and enjoyable series that I’m interested in seeing where these girls’ relationship goes, but a deeper look at the series really shows the amount of thought that went into the characters and their surroundings.  Honestly [this] YT video by Zeria is why I finally started this series and covers why this is such a good worthwhile series much better than I can so I recommend watching it, if not jumping straight to reading!

Status: On-going, first English volume will be released in late 2019!!

Their Story (Tamen de Gushi) by Tan Jiu

Summary:

Tamen De Gushi manga is a slice of life manga that revolves around two high-school protagonists, Sun Jing and Qiu Tang, and how they meet and fall in love and start dating.

Why I think you should read it:  If you’ve been on tumblr long enough and follow enough queer fandom blogs you’ve probably heard of this series.  Everything you’ve seen about it is true: it’s sweet, cute, funny, and fluffy.  It also covers topics like victim blaming without derailing from something you’re reading to distract you from reality.

Status:  This one is a webtoon and currently on-going.

Pietà by Haruno Nanae

Summary:

A story about two classmates, Sahoko and Rio. Rio is depressed and self-harms due to lack of loving relationships with her "family" -- which consists of her negligent father, selfish stepmother, and stepbrother; and Sahoko quickly becomes her only comfort in life. Sahoko on her part has a frigid relationship with her otherwise loving parents, and lives with her aunt.

Why I think you should read it:  Prior to meeting, these girls dealt with mental illness and that’s what bonds them very quickly as they come to rely on each other.  I debated whether or not this series should be with the school-girl series or the adult ones, I decided to keep it with the school-girls because... they’re high school girls! Even though the girls’ school is really only ever the place they first meet, it’s the fact they are high school girls that colors their perspectives for the best and worst.  

But the reason I think it is worth reason it is that it portrays depression, self-harm, and suicide the way you think about it as a depressed high schooler but it is narratively treated with the seriousness it deserves, and to be responded to with love and compassion.  While we’ve got Rio’s parents who don’t take her mental illness seriously and compassionately enough (or at all), but there other adults who do from the very beginning.  It’s 1 volume long and despite all the trigger warnings I am about to give for the series: I promise a happy ending. 

*Warings* Self-harm, suicide attempt, forced institutionalization, parental abuse, gaslighting

Status:  Completed, not officially in English but completed online scans are available.

Kase-san by  Hiromi Takashima

Summary:

Yui Yamada, a girl who enjoys tending to her school's greenery, falls in love with the athletic Tomoka Kase. The two eventually begin dating, and the story follows the pair as they face various challenges in their relationship

Why I think you should read it:  Another one I see on tumblr a lot and, again, it’s everything you’ve been promised: cute, fun, and a natural progressing romance.  What I think is worthwhile about the series is that it’s continued into their college years, but that hasn’t automatically made them adults. They continue to deal with the same insecurities they did in high school, but even still they’ve been maturing since the start of the series and they continue to do so. 

This series is unlikely to ever delve into darker or political themes, but we need series like this - where problems don’t linger but are resolved relatively quickly without losing the character’s defining traits and flaws.

Status:  Ongoing and available to buy in English.  Also has an OVA.

Ano Musume ni Kiss to Shirayuri o (Kiss and White Lily for my Dearest Girl) by Canno

Summary:    

In middle school, Ayaka Shiramine was the perfect student: hard-working, with excellent grades and a great personality to match. As Ayaka enters high school she expects to still be on top, but one thing she didn't account for is her new classmate, the lazy yet genuine genius Yurine Kurosawa.

Why I think you should read it:  A rivals-to-lovers story, for all my rivals-to-lovers lovers out there! <3 While Shiramine and Kurosawa are definitely the protagonists of the story, roughly only 40% of the time are chapters focus on them and their relationship, as the series spends a lot of time on their many, many side characters and relationships... which are all wlw too.  Lots of different relationships explored in the side characters, including a triad that forms together wonderfully.  

A part of the series that particularly tickled me was that male characters are barely ever mentioned, if ever.  It’s entirely possible that that men do not exist in this world.

*Warning*  One romance between a student and her aunt (though the aunt is only 4 years older).  The two chapters depicting their relationship are skipable and even then it’s vague enough that you can interpret it as a family relationship imo.

Status:  Completed and available officially in English.

Bloom Into You (Yagate Kimi Ni Naru) by Nakatani Nio

Summary:

Yuu has always loved shoujo manga and awaits the day she gets a love confession that sends her heart aflutter with bubbles and blushes, and yet when a junior high classmate confesses his feelings to her...she feels nothing. Disappointed and confused, Yuu enters high school still unsure how to respond. That's when Yuu sees the beautiful student council president Nanami turn down a suitor with such maturity that she's inspired to ask her for help. But then the next person to confess to Yuu is Nanami herself.

Why I think you should read it:  What, did you really think it wouldn’t make my list (lol)?  Of course everyone should give this series a try!  I’ve been following this series for a while so I’m glad to see it blow up in popularity recently because of the anime because it really deserves it.  This series is very far from your typical straight-forward cute high school yuri romance, it’s an awkward fumbling as the girls have their first relationship and all that comes with that - including learning consent and boundaries -  in a very unusual set-up (that I’ll let you read to discover).  

Additionally, an adult relationship between two women is also portrayed, proving the usual “lesbianism is transient” is many school-girl manga wrong, but the adults tend to mentor Nanami’s also gay friend more than Yuu and Nanami (who could frankly use some adult guidance, since they can’t seek out their parents). 

Yuu reads as very aro-spec too, if that resonates with you, and I (personally) don’t think that anything in her relationship with Nanami negates those feelings.

Status:  Currently ongoing and available in English.  Anime which covers the first half of the series.

Nameless Asterism (Nanashi no Asterism) by  Kobayashi Kina

Summary:

Tsukasa, Nadeshiko, and Mikage have been inseparable since they began junior high, but Tsukasa has a secret she's been keeping from her best friends—she actually has a big crush on Nadeshiko. Not wanting to risk their friendship, she planned to keep it a secret forever, but when Tsukasa learns that Nadeshiko has a crush on Mikage, her desire to support her friends now conflicts with her own feelings. First love blossoms in unexpected ways for these three young women and their circle of friends.

Why I think you should read it:  This one is actually a junior high school one, but I’ll stick it here regardless.  But it’s a fun series, and for a love-triangle story it’s not over-wrought at all.  More than a series about love, it’s about the concept of romantic relationships at the characters��� age as well as friendship. One of the character’s in particular thinks her feelings are transient, but it’s also rather clear that they are not and she’s just scared after a bad past experience. Despite being in a love triangle that not all of them are completely aware they are in, it’s also very clear they want to keep being friends and fear losing their friendship more than anything else.

It ends prematurely so some things are left unresolved but still a fun read and I still give it a huge rec.  YMMV on the handling of one cross dressing character, especially as he takes over the story for a bit, but it’s far from the worst handling but. ya know.  Heads up, he exists.

Status:  Completed, not officially in English but completed online scans are available.

Aaaaaand that’s about it with the light-hearted (mostly) school romances.

On to college-age and working adult yuri series which don’t get nearly enough love!

It’d be great if you didn’t exist by Carbonara

Summary:

Why did she meet her ideal girl in the worst situation?

After catching her boyfriend with another woman, Han Guk-hwa promptly breaks up with him and expects to never see him again. What she didn't expect was to keep thinking about the woman who was with her ex and develop a begrudging crush on her.

Jang Mi, the crush in question, also didn't expect to see such a beautiful girl approach her and finds herself thinking that she could do so much better than the scumbag Guk-hwa was dating.

Why I think you should read it:   There’s.... a lot of reasons I could give you about why this series is worth reading.  It’s a wonderful balance between funny and a soft, tender romance between two women, even while dealing occasionally with darker themes and topics.  The characters are both well fleshed out with flaws and a rationality to their actions.  More than that: for every bad experience they had in the past which gives them insecurities about themselves and others, they are rewarded for trusting each other with a happy, loving relationship.  Inter-relationship problems (like insecurity) are resolved with communication, while their separate personal problems they share mutual support. 

BUT ALSO, I mean... it’s pretty much like that text from last night that goes:  “ I just found out two girls I dated met each other, bonded over how much they hate me, started dating and are gonna get married soon.”  And I just.... really enjoy and appreciate it. Because it’s like: that’s it that’s the series.

*Warnings* Stalking, abuse, bullying

Status:  Another webcomic, completed at 80 chapters all available online in English

Cheerful Amnesia by  Tamamushi Oku

Summary:

Arisa wakes up in the hospital, with no memory of the last three years. When Mari, a girl who's just Arisa's type, arrives at the hospital and informs her that not only are they living together, but they're actually in a relationship, Arisa is over the moon.

Why I think you should read it:  MC has amnesia, but as the title suggests, it’s light-hearted series.  Afterall, MC wakes up to discover she has a beautiful girlfriend!  What couldn’t be better in life?  Well, there are... like sex with your girlfriend.  Wait no, that’s way too good for Arisa to handle (lol). And it just gets better for Arisa as the story plays out.

Usually the amnesic lover trope is played for the drama, but here it is only played for laughs.  A little eye-roll-y regarding some aspects and maybe even down right stupid but still cute and a fun romp if you need mindless fun. It’s a 4-koma so it’s not particularly deep, but a fun exploration of the story’s premise.  Let’s be honest: all the jokes about sex probably won’t make you laugh and probably won’t even titillate you, but you’re not here for laughs you’re here for something cute and see an adult relationship between two women get to be fun, silly, and mindless.

Status:  On-going and not officially in English but completed online scans are available.

Ultramarine (Gunjou) by  Nakamura Ching

Summary:

Out of desperation, a woman asks an old high school acquaintance to kill her abusive husband for her. The acquaintance, having long been in love with this woman, does it, and now they are on the run from the law.

Why I think you should read it:  I’m going to be honest.  This isn’t a series for everyone or even a series that most would like and that’s ok. The summary just covers the first few pages - everything devolves from there as they avoid the police and the stakes get higher - or rather, revealed to us as the readers.  Definitely not a series for a fun, quick read and I don’t rec it if you want an ideologically pure series - but the series mostly acknowledges the fucked up nature of everything going on.  If you’re interested in story where the main characters aren’t clear-cut “good” and “bad” and you don’t mind not rooting for the main characters’ romance, give it a try.  Because this is not a series about two women learning to be good to each other.

It’s a heart-wrenching read for those that read it and explores themes that aren’t often explored without being edgy for the sake of being edgy.  I think if you can stand to read this series in one sitting, you’ll be absolutely gutted and be thinking of this story for a while.  It’s a powerful read, awful in a very necessary way.

*Warnings* for rape, abuse, dub-con (between the main characters), lots of talk of suicide, infant death, death of a wlw (not main romance).

Status:  Completed, not officially in English but completed online scans are.

Lonely Wolf, Lonely Sheep by Fuka Mizutani

Summary:

Two women with the same name happens to meet each other when they're at the same hospital for the same injury. They want to become closer, but both must overcome their insecurities and self-loathing first.

Why I rec it:  Ehehe.  If you follow me, then you probably know I’m half-way to being a NANA blog.... Well this has the basic premise of NANA, with two girls with the same name (in this case first AND last) meeting under similar circumstances.  It’s a short & sweet series, but not without a lump of angst mixed in, because despite their meet-cute they’ve still got a shared loneliness and fear of rejection to contend with.  Despite that: it’s not drowning in angst and unnecessary, drawn-out melodrama.

Status:  Completed, not officially in English but completed online scans are.

Fluttering Feelings by Ssamba

Summary:

The comic follows the life of two Business University students, the average slightly immature Kim No-Rae and the beautifully captivating Baek Seol-A but equally immature, as well as their friends and family.

Why I think you should read it:  This series is a beautiful exploration of two women slowly falling in love - or rather, slowly realizing and accepting that they are in love with each other.  A lot of will they, won’t they story get stale very quickly but here the characters are so expertly explored that you understand why they aren’t kissing right now this second and it just makes you hope that one day they will and be happier.

Additionally, just because they aren’t dating doesn’t mean that they friendship doesn’t continually progress and flourish as they continue to get closer and more emotionally intimate with each other.  As their friendship gets closer, they struggle more and more to define their feelings for each other.  

Unfortunately Ssamba passed away last year, before completing the series.  So the series will likely remain forever unfinished but I think this series is so great that it’s a worthwhile read even unfinished.  I think Fluttering Feelings maybe even is a series that especially proves that unfinished series are worth reading, because for me: the ending to a story is one of the most important parts... but not for this series.  This series is all about the journey and the journey until where it left off was worth it.

Status:  Unfinished Webcomic, available online in English

Ohana Holuholu by  Shino Torin

Summary:

Maya, who works as a translator, lives with her bisexual former girlfriend, Michiru, and Michiru's son, Yuuta. Residing in the same apartment building is an actor called Nico, who drops by for a visit almost everyday, and knows about Michiru's past. Somewhat like family, and somewhat not, their lives interweave full of warm days.

Why I think you should read it:  This one is about family, at it’s core.  A found family, in particular.  I think for many like me, that’s enough of a recommendation (lol).  The rekindling of Maya and Michiru’s relationship is an important part to the story, but just as important is the fact that they have formed a family even before then.  Michiru isn’t always the best friend, roommate, lover, or even person and she definitely isn’t the best mother, but watching over her growth through the series to take responsibility for herself and for her family is incredibly rewarding.

Status:  Complete, still in the process of being translated online into English.

Collectors by Nishi Uko

Summary:

Two women in a relationship disagree about the other’s spending habits.

Why I think you should read it:   Most of this list is comprised of series that are about before the relationship begins, but Collectors is here for everyone who desires a pre-established relationship!  It’s very sweet and very obvious how much the two women love each other.  

This is the bickering couple done right - with love, especially after the initial few chapters, and it’s honestly just a form of flirting as the characters just as often find common-ground on their spending habits.  

It’s primarily 4-koma style, so not much happens story-wise but it’s well worth it just for to see their day-to-day interactions, how much they enjoy spending time with each other, and their friend’s commentary about their relationship. Also, if you’re a collector or hobbiest that compulsively buys things related to your interests... be prepared to be called out!

Status:  I thiiiiink it’s on-going - definitely the English online translations haven’t caught up as far as I can find.

The Robot Next Door (Tonari no Robot) by Nishi Uko

Summary:

In an ordinary neighborhood, a team of engineers are developing a robot they call Praha, who looks like an ordinary human high school girl. Chika, a 4-year-old girl who lives next door, meets her neighbor and learns her secret. The two girls become friends and high school classmates, and Chika teaches Hiro—as she calls Praha—about human emotions, including love.

Why I think you should read it:   Another story by Nishi Uko!!! There is a severe lack of sci-fi Yuri works!!  It’s a short and sweet feels trip as it explores the premise - a robot and human girl having feelings for each other.  While the bulk of the series takes place while both characters are in high school, I’m sticking it here with the “adult” series because it’s not about youth so much as it is about the premise.

Anyway: one of the interesting things about the series is how Praha expresses her love for Chika, which is obviously different than how humans feel ”love” because she’s a robot.  Meanwhile, Chika pines for Praha in her youth but insists that Praha’s feelings aren’t love.  She thinks their feelings for each other are “different,” which is both true and untrue.  As it is thought, robot/human love stories are often bittersweet because the premise predicates that the human will age while the robot will not.  Honestly, the ending is not bitter in the least, but it’s something that looms over you as you, the human reader, know as inevitable future.

Status:  Completed, not officially in English but completed online scans are.

Poor Poor Lips by Gotou Hayako

Summary:

Okashi Nako is a young woman living in poverty. When she applies to work at a Gem store, she learns that store owner, Otsuka Ren, is a lesbian. Ren promises that Nako's not her type, but she may be lying.... Nako takes the job and so begins a comedic tale of rich and poor, sickness and health, for better and for worse!

Why I think you should read it:  It’s a boss/employee romance but tastefully done imo - it’s been a while since I read it but I remember it fondly. It’s primarily set-up as a comedic series (another 4-koma!) but by the end the ladies *are* explicitly in a relationship, after some “will they/won’t they.”

Status:  Completed, not officially in English but completed online scans are.

Octave by Akiyama Haru

Summary:

This story revolves around 18-year-old Miyashita Yukino and her life as a former idol. As a child, Yukino had always been fascinated with TV. And before she knew it, she wanted to be one of those idols behind the screen. At 15, she entered the entertainment industry and debuted as a member of the four-person group "She'sN." However the group wasn't very successful and they broke up shortly afterwards. Returning home in disgrace, Yukino was welcomed with people's curious looks and hurtful words. Wanting to find herself, regain her pride, and perhaps experience love, Yukino decides to move back to Tokyo. There she meets a certain woman, former composer Iwai Setsuko. Together they embark on a very interesting and mysterious relationship.

Why I think you should read it:  Don’t be fooled by the simple, minimalist art... The characters are complex and each of them realistically flawed.  The series explores themes unfulfilled dreams and miscommunication and most of all: maturing into a decent person.  A lot of people are turned off of this series because the choices Yukino sometimes makes are, but it’s worth seeing her journey imo.

The series also deals with coming out not being an entirely positive experience and... it’s gutting but real and in the end says more about other people than Yukino.

Status:  Completed, not officially in English but completed online scans are.

And that’s it for now!! Let me know if you read any of these, whether or not on my recommendation or not!  Depending on if people liked this I might do another one, because I discovered a whole bunch of series while researching plus cut some from the list last minute that I still think deserve a rec!!

[ohmystarsy]

marsza

replied to your post

“I’ve just downloaded “Baptism of Fire” in English, half of curiosity,…”

That is SO interesting to hear- translation really is an art and a talent of its own. I’m always so curious about the nuances that are lost when things are translated. I’d love to learn more about what differences you find!!

translation really is an art! 

(this is going to be REALLY long, sorry; I’m hiding this under read more) 

I know nothing about linguistics, but what I noticed so far in English translation is that while it almost literally translates the meaning of each sentence (and it does it pretty well I must admit, and the story is still fun and enjoyable), it is using only modern vocabulary. What I really like about Sapkowski’s style - and I’ve already written about it - is that it kinda reminds me of our great writer Sienkiewicz who wrote epic historical fiction in 19th century. Sapkowski combines modern, archaic and colloquial Polish words, grammar and way of telling the story and he does it masterfully in my opinion. It’s a really weird, unique mix; some characters (like Geralt or sorceresses) speak like modern people would, while others (like Milva I mentioned) speak this rather archaic language that we associate with countryside and - let’s say - folklore. Also there are times where he just drops such a bomb in the middle of a sentence, just a word or two that you just wouldn’t EXPECT in fantasy genre (my fave from this book - and that one actually works in English almost as well as in Polish - is “[The witcher] was looking at the cormorants sitting on the shit-covered tree.” which is funny as hell - especially in context bc Geralt is brooding romantically again - and if you ever saw cormorants they ALWAYS sit on the shit-covered trees, it’s just that mental image that is just right. But then the word used in Polish for “shit-covered” is much cruder than that and for some reason it makes that sentence even funnier idk). And surprisingly all those three types of words coexists very well!

So when I read English translation it just misses this additional level. For example there is a dialogue where Milva says in English “Go to hell”. In Polish we say “Go to devil” (”Idź do diabła”), and normally I would be ok with not translating an idiom literally, BUT additionally Milva uses archaic word for the devil, which is “bies” (”Idź do biesa”) and that has just completely different feeling than English “Go to hell”! 

Or let’s take the very first sentence of the book. In English it’s “Birds were chirping loudly in the undergrowth.” Nice. Poetic almost? In Polish it’s much shorter and to the point and the word that is translated as “chirping loudly” is 1) one word (no adjective), 2) a colloquial one which makes the sentence much stronger (in my opinion). Also the structure of the sentence is reversed - in English it’d be literally “In the undergrowth were chirping loudly birds” - but I guess you just can’t do that in English (Polish has rather loose sentence structure and depending on the effect you want to have, you just move words around - so that reversed structure here also makes the sentence stronger).

I’ve only skimmed through my favourite scenes tbh (at this point I know this book almost by memory lmao, it’s my favourite one), and mostly it’s what I mentioned above (lack of archaic or colloquial language), but also what I found curious is the translation of some Polish idioms and sayings (and I haven’t realised till now that Sapkowski uses so many of them!). My fave one is the scene with higher vampire who talks about his addiction to blood and how he overcame it, quite like an alcoholic. In English the dialogue goes like this: “I noticed I could manage without them [parties and company]. Blood was all I needed, was all that mattered, even when it was…” “Just you and your shadow?” “Worse than that. I don’t even cast one.” And ok that’s maybe funny (is that some idiom in English?), BUT in Polish we have this saying of “drinking to the mirror” which is just euphemism of drinking heavy liquor alone (it's considered bad taste even in Poland hence the mirror so you at least have your own reflection for company). So in Polish the dialogue goes like “I noticed I could manage without them [parties and company]. Blood was all I needed, was all that mattered, even if I was…” “Drinking to the mirror?” “Worse that that. I don’t reflect in mirrors.” which is HILARIOUS idk it’s like this saying was just created specifically to exclude vampires from it, poor creatures!!!

Again, I don’t want to criticise the translation of this book (or at least… not so much, I wish they did better job on speach mannerisms though) and I KNOW there’s no way all that meaning and feel could be translated 1:1 especially as English and Polish are from different language families and Polish is much more poetic than English in my opinion. It’s just always interesting to compare the original and the translation and I’ve never done this with Polish-to-other-language ones, so… sorry for writing so much.