#and i was worried I would write this one and lose momentum/motivation/lose the plot

[rowanisawriter]

patrochilles / fairy tale AU / complete (40k words)

There is a curse. A destiny, as his mother loves to remind him. A war. An unknown future, somewhere out there in the fighting and killing. But here, there is only the sun and the grass and Achilles’s swift feet. Here, there is Patroclus sitting in the shade. Here, Achilles pulls him closer and puts his arms around him, staining their clothes with charcoal dust from sketched out dreams. Patroclus sinks into him heavily. The sound of their breathing is the only thing they can hear, as though the clearing—their clearing— is a shield hiding them from the rest of the world. “Take me with you,” Patroclus tells him at the same time that Achilles says, “Please come with me.”

In the tiny kingdom of Phthia, a golden prince is cursed with invulnerability except for a vulnerable heel. An exile apprenticed to a shoemaker is commissioned by the palace to create a shoe the prince can fight in.

A fairy tale about a curse, a magical shoe, a war, a doomed hero, an exile, destiny, and love despite everything.

[bbrandy2002]

My Love

 Chapter 13

Pairing: Liam x MC

Warnings: Violence, Language

Well, this is the final chapter before the epilogue. For a story I started last August and put away thinking no one would ever want to read, I was proven wrong. I cant imagine I will write another story that I love as much as this one. It turned into something I never planned and if you could see the original outline, it is nothing like this. But I appreciate you all so very much for sticking with it and willing to accept an out of the box plot line. I love each one of you who messaged, reblogged, liked, or commented...like seriously, it was my motivation to keep going and to do better.

A/N: Thank you to @mskaneko for the moodboard above. I saved it just for this chapter because it captures the heart of the main characters and this series so well.

And @burnsoslow I swear to God, you are the bestest friend I could ever have asked for. I'm sure you have just as much of yourself in this as I do. You've not only edited the hell out of this series, but literally dropped what you were doing to do so. There are portions you've written or just made better. I CANNOT THANK YOU ENOUGH...EVER for brainstorming, your ideas, talking me out of my stupid ideas and cheering me on. I hope you always know how much I appreciate and value your friendship and help.

With her heart and mind racing in unison, Riley’s hand rapidly shifted the gears of Maxwell’s black Aston Martin Vulcan.  Her knuckles whitened from their tight grip on the steering wheel as she pressed down harder on the gas pedal of the luxury sports car. The V12 engine roared with fervor when they sped up down a straight stretch of dark highway; the momentum caused both she and Maxwell to jerk back harshly into their plush leather seats. Her passenger’s disapproving glare and heavy groan had no effect on her. The only thing on her mind was the impending death that awaited her in the Cordonian harbor ahead. 

Riley had no recollection of her first death, nor the physical pain her body experienced from the cyanide she had unwittingly ingested before bed weeks ago. The effects of the poison ravaged every cell in her body and hastily shut off her respiration. Those two tiny pills that Amanda had offered her that day to relieve a headache had consumed and destroyed the organs in her body in less than six minutes. If the message Olivia had revealed to her in a dream less than an hour ago was any indication, this second death would be twice as horrifying. 

Recalling the heavenly conversation in her head with the apparently deceased Duchess of Lythikos, Riley saw an opportunity. If she were to believe Olivia’s prognostication and warnings and followed through with her former rival’s directions, was it possible her story could end differently? She had nothing left to lose and everything to gain by finding out. Her fear of dying for the second time, however, was staggering. 

A devilish smirk curled Olivia’s bright red lips as she arched a sly brow. “It's time, Riley. And if you know what’s good for you, you’ll do exactly as I tell you.”

Would this plan even work? 

Shaking her head to dismiss the terror that threatened to overcome her, Riley flashed a glance over at Maxwell’s lap. His nimble fingers cautiously attached lead wires from an old cell phone into a c4 pipe bomb they had swiped from the armory. There were only two people she knew who had ever handled explosive devices: one she trusted — Olivia -- and the other she was astonished hadn’t already blown them up. “Maxwell, are you sure you know what you’re doing?”

Swiftly peeling off a strip of duct tape and biting it in half, he puckered his forehead in deep concentration and wound the strip carefully around the explosive contraption. Pausing a moment to inspect his work, his eyes shot back to her with a flash of uncertainty. “I guess we’ll find out soon enough.” 

Shaking her head to dismiss the terror that threatened to overcome her, Riley flashed a glance over at Maxwell’s lap. His nimble fingers cautiously attached lead wires from an old cell phone into a c4 pipe bomb they had swiped from the armory. There were only two people she knew who had ever handled explosive devices: one she trusted — Olivia -- and the other she was astonished hadn’t already blown them up. “Maxwell, are you sure you know what you’re doing?”

Driving through the entrance that led to the marina, Riley dimmed the car’s lights and pulled into the empty spot furthest away from the vast cluster of docked boats and yachts. Shutting off the engine, she bit the corner of her lower lip and stared blankly at the moonlight’s yellowish glow treading along the ripples of seawater in the distance. As much as she wanted to be brave and strong, believing it was the only way she could get through this, she wasn’t ready. How long would she struggle and claw her way for a single breath as the ache and emptiness in her lungs became something she could no longer fight for?

God, help me, she thought as she closed her eyes and the first stream of tears rolled down her cheeks.

Maxwell placed a comforting hand on her cold and trembling forearm. “Riley. You don’t have to do this. We can turn around right now and --”

“No!” She swiped roughly at the tears that flowed steadily. “I knew what I was getting myself into when I came back, Maxwell. This was always meant to be temporary, and I agreed to it knowing full well the repercussions of that decision. Olivia warned me: This is the only way to ensure Amalas doesn’t hurt Liam or Ellie after I’m … gone.” 

Riley’s head fell back against the headrest, her chest rising and falling in rapid succession. She rolled her head sluggishly to the right to catch Maxwell’s worried eyes still fixated on her. She drew a shaky breath. “Promise me something, Max.” Her raspy voice was barely above a whisper, and he nodded back with his full attention. “Make sure when Liam gets here … well, just … just don’t let him get himself killed trying to save me. Can you promise me that?”

Maxwell ordinarily lived for intense moments of danger, but even this was beyond his level of comfort. 

He turned away from her. Nothing made sense to him at that moment as he shook his head and gazed silently out his window, not knowing what to say to her. His best friend was minutes away from another death, and he was nowhere near ready to face her absence in his life again, especially one based on a dream. And somehow he could sense his friend knew more than she was telling him.

This was insane.

“Maxwell?” Riley pleaded. “Please.”

He spun his head back around to face her again, wanting nothing more than for her to change her mind and return to the palace. Unable to avoid her plea, he huffed with a half-hearted smile, “You already know I will. That’s not even something you have to ask.” 

Riley breathed a heavy sigh of relief before reaching behind her seat for the leather satchel she brought. “Then let’s do this.”

Maxwell set the timer for 15 minutes, which would allow her enough time to walk to the small yacht where Amalas awaited Riley’s arrival and for the boat to pull away from the marina. The last thing they wanted was for someone innocent to be harmed when the pipe bomb detonated. Whatever plan Olivia had shared with Riley was clearly upsetting to the woman he thought of as a sister and yet, he trusted it. As Maxwell gently lowered the explosive into the bag she held open for him, he caught a tiny glimpse of hope behind the dread in her eyes that suggested this was bigger than he realized.

As Riley shrugged off her sweater and placed it inside the bag to conceal its contents, Maxwell noted the time on his watch. The minutes were passing by faster than she realized when she opened her door and gave her passenger a knowing look. 

“You know what to do, right?”

Maxwell nodded. “Wait for Liam and Drake to get here. Search the port side of the boat after it explodes for you. Aaaand …” He smacked his forehead several times to remember the last point.

Riley’s brows bumped together in a scowl. “And don’t let anything happen to Liam!”

He threw his hands up. “Okay, okay, I got it!” Pausing for a moment, he watched Riley step out of the car and adjust the satchel on her shoulder. “Riley, wait!” he called before hurling himself across the console to look out the driver's side door. 

She leaned down into the car. “What is it, Max?”

“Will I ever see you again?” His voice cracked.

Straining to hold back her own tears, Riley closed her eyes and took his sadness to heart. She wanted to give him the truthful answer: She didn’t know what the outcome would be, only that Olivia was working on it. There were a million things that could go wrong, and she had no control over the situation. She opened her eyes back up, barely able to make out Maxwell’s downcast face in the darkness, and smiled softly back at him. “I hope so.”

After closing the car door, she sucked in a deep breath and exhaled steadily to calm her nerves before making her way to the docks. As she made long strides towards the marina, she pulled out her phone and glared at the text message Amalas had sent to her with the location of her boat. She shut her phone off again, not wanting to trigger the explosive before it was ready. 

Through trepidation, her heart pounded.

Through adrenaline, her body shook.

As waves crashed and sprayed along the shore, her senses heightened. She shivered from the cold sea air that swept over her bare arms causing her teeth to chatter. Tiny droplets of rain washed away the sheen of sweat that clung to her blanched face from her hairline down. No matter the outcome -- whether Olivia could find some way for her to stay or not -- she was going down on her terms. If the only thing that happened in the next few minutes was guaranteed protection for Liam and Ellie, Riley won.

“It’s about time you got here.”

Recognizing that voice from their many encounters in ballrooms and a Texas bar, Riley tossed a glance over her shoulder. The thin silhouette of power and intelligence stood with a hand on her jutted hip and a power suit that matched her over-inflated ego. Riley curled her lips while the weight of anticipation for revenge built in her chest. 

Standing on the deck at the stern of her small yacht, Amalas cocked an eyebrow. “I don’t have all night, Amanda. Are you just going to stand there?”

Riley turned on her heels, clutching her stomach protectively, and stepped up the wooden planks that led to the deck of the yacht … and her destiny.

Amalas gestured for Riley to have a seat while she poured a glass of champagne for herself. 

Riley  the bag from her shoulder and placed it at her feet.  Before taking a seat on the cushioned vinyl sectional that lined the railing of the boat, she swiped away the tiny drops of drizzle that had sprayed in under the canopied roof. She crossed her legs and tried to get comfortable. “So … you needed to see me?”

Amalas laughed wryly and placed the champagne back in the ice bucket. She took a sip and twisted around to face her adversary. “I did need to see you.” She lifted the glass to her lips and spoke coolly. “Queen Riley.”

Internally, Riley laughed at being called out. At this moment, it didn’t matter what Amalas knew, nor did it matter that Amalas thought she had the upper hand in the situation. You’ll be overcooked fish food in about five minutes, bitch. Riley shrugged her shoulders with a cocky grin. “I suppose my little secret is out of the bag. I assume you have a mole in my palace.”

Amalas chuckled sardonically as she casually took a seat on the opposite end of Riley. “Of course I have a mole in your palace. I had to see that my dear cousin was fulfilling her obligations. Imagine my surprise, though, to find out what that cocksucker, Neville, did to her … such a shame. But, I will say, it certainly helped that you and your king weren’t exactly discreet in your ... activities. And someone may or may not have overheard a discussion or two between your little squadron of BFFs.”

Riley felt the boat shudder under her feet as it pulled away slowly from the marina. She took in a deep breath and placed a hand over her tummy.  Shit … this is it. Hold on, little one; we’ll be together soon. Everything was occurring quickly and exactly as Olivia had told her it would. Liam will be here soon.

She tilted her head to face Amalas, whose eyes swept over Riley’s shoulder. Before Riley could follow her gaze, a strap of leather wound tightly around her neck from behind, cutting off her airway. She instinctively tried to fight her way out of it but knew it was useless. Her bulging eyes watched Amalas smirk, swirl her champagne, and down the rest of her bubbly drink. 

“I always win, Riley. Even if I have to kill you over and over again.” 

The guard who was strangling Riley understood this statement as his order: “When you’re finished and the Queen of Cordonia is dead, toss her overboard.”  The guard nodded as he continued to tighten the strap, and the Queen of Monterriso walked away, feeling confident of her victory.

____________________

Maxwell shuffled along the wet pavement, his watery eyes never once looking away from the yacht Riley boarded as it left the marina. He had never wanted to break down more than he did at that moment. Knowing that she was scared, that she was alone, and that she had just sailed off to her death -- it was too much for him. 

And he had a front-row seat for all of it.

Frustrated that he was losing sight of the boat in the darkness, he cursed under his breath and considered hijacking a vessel to go after Riley himself. That was, until the screeching of tires in the distance pulled him away from his thoughts. He turned to see a truck speeding toward him. Maxwell knew exactly who it was and flailed his arms to catch their attention.

Liam jumped out before Drake had a chance to stop the vehicle completely. Barrelling towards Maxwell, his white button-up still stained with Neville’s blood, Liam was noticeably in full panic mode. 

Skidding to a halt, Liam grabbed both of Maxwell’s arms and jerked him closer in desperation. “Where is she, Maxwell?”

He nodded to the open waters. “She left several minutes ago with Queen Amalas.”

Liam glanced out with his fist balled in his hair. “Fuck! Why the hell did you let her go?”

“I tried to stop her, Liam -- I swear it -- but she wouldn’t listen to me!”

Drake tugged on Liam’s elbow and pulled him away. “Come on. You can stand here and argue with Maxwell all night … or we can get a boat and go after her.”

Liam’s eyes darted around the marina until he set his sights on a cabin cruiser several rows over. He jerked away from Drake and hammered his feet in its direction. Hoisting himself up and over the railing, his friends following behind him, he banged frantically on the cabin door with both fists. Drake and Maxwell searched the aft deck for something to shatter the glass of the door with until the distinct click of a lock and a middle-aged man in nothing but his boxer shorts appeared in the doorway. The man appraised Liam and scowled. “Who the fuck do you think you are, banging on my door in the middle of the night?”

Liam pushed his way past the man, and Drake grabbed the occupant by his arm before he could go after him. “That’s the King of Cordonia. You can either get your ass off this boat now -- or I can put you off. Your choice.”

Maxwell unraveled the ropes from the cleats on the dock that secured the boat and made his way to the helm. Drake started the engine and maneuvered them away from the marina. Liam turned to Maxwell when he heard him approaching. “Which way do we need to go?”

The youngest Beaumont wasn’t entirely sure. Under the blanket of darkness, his sense of direction was skewed. Maxwell pointed in the path he last recalled, knowing that the explosive would ignite any second. “Head northwest … but there’s something you really need to know.” 

Before Liam could respond, his breath hitched, and a sense of emptiness and a hollowness in his chest suddenly overcame him. It was like one of the greatest parts of himself had suddenly slipped away.

Again.

Liam didn’t need to ask himself what it was; he already knew. It was that same feeling he’d had in a chilly hospital room almost four months prior. And as much as he wanted to shake that feeling, to simply deny it was there ... the heart didn’t lie. 

His love was gone.

She had returned, just as she wrote she would in the letter to him. Just as she told him from the very beginning would happen. Except this time, she was taking a tiny part of himself with her, one he hadn’t known they’d created until Drake showed him the final message Liam would ever receive from his beloved wife.

As a lone tear slipped down his cheek, he wept to himself, “Don’t be scared, love. I’m coming to get you. Both of you.”

_______

Riley’s arms fell listlessly to her sides. Her lungs now completely empty of oxygen and her heart no longer beating, the guard unraveled the strap from her neck, leaving behind a deep red ring on her pale skin. 

Adhering to the orders issued to him, the guard lifted her lifeless form with ease. Her brown eyes were void of expression as they stared blankly into nothingness. Her head bounced loosely in his arms with each step closer to the railing.  Without hesitation or compassion, he tossed her like a rag doll into the tranquil waters of the Mediterranean Sea. 

The body clung to the surface, bobbing along with the gentle waves.  

Riley’s soul departed from the shell she had inhabited: the body of her killer. For the first time in over a month, she felt like herself again. Her skin bronzed and her hair darkened. The flatness of hips and chest she had grown accustomed to grew curvier once again. An aura of radiance and warmth surrounded her. 

Approaching the heavens from where she came, Riley smiled down at the tiny infant curled into her arms. If she didn’t know better, she would swear it was Ellie. ”Hello, you.”

“I see you finally made it.”

Riley chuckled. “Good to see you too, Olivia.”

Olivia crossed her arms and eyed the baby curiously. “I see you couldn’t keep Liam off you this time, either.”

A giggle escaped Riley’s lips as she looked down at the bundle again and caressed the soft downy curls that covered their tiny head. 

She glanced back up to her friend. “I miss Liam and Ellie already. I love them so much, Olivia.”

The duchess placed a hand at the top of Riley’s back and guided her forward. “I know you do. The kind of love you shared together never goes away … I don’t entirely understand it, but I knew it was you in that ballroom by the way he looked at you. By the way you looked at him. It was slightly nauseating.”

“Just slightly?”

“Fine, it was thoroughly disgusting. Satisfied?”

Riley rolled her eyes in amusement and chuckled. “Even in death, you’re still the same Olivia Nevrakis we all know and love.”

Olivia waved her hand dismissively with a groan. “Well, this place is entirely too … cheerful and pleasant for my taste. I’ll have to oversee some changes to all this daily merriment.”

“Good luck with that,” Riley snickered. She stopped walking and turned to Olivia with a knowing look. “Soooo ... what happens now? Were you able to ... you know?”

Olivia looked to the lighted pathway. Riley followed her gaze with apprehension, her eyes demanding an answer to the question. 

“It’s time to go, Riley.”

“Where?”

______________

Drake held tightly to the steering wheel as the boat hit a melee of turbulent swells. The explosion in the distance made it easier to track the location of Amalas’ boat, but the choppy waters were difficult to drive on.

Liam stood heartbroken but silent, wearily watching out the glass panel in the boat's front. The debris that burned and spread across the sea lit up the black sky. And directly before that rubble, according to Maxwell, he would find the body of a woman who meant nothing to him. She was just a temporary placeholder for the woman he loved with all of his heart and soul. 

In his mind, he knew Riley and their baby had returned to join his mother. That finding the body that belonged to Amanda Talbert would be just that: Amanda. 

Riley Brooks rested under an apple tree at the edge of the garden maze where he had laid her to rest months ago. She would forever belong to the ages.

She had returned to save him from his anguish. His despair and loneliness. 

But mostly from himself.

And she left tonight, having saved him and their daughter from an evil plot. 

What was it about his wife that she could defy life and death to save him? It didn’t surprise Liam; Riley had rescued him the first night they met. Now she had given her last breath to do so again.

The heat from the mangled, burning boat and its debris was intense. Drake steered as close to the rubble as was safe to do so and dropped the anchor. 

Liam took a deep breath, feeling the weight of sorrow pressing against his chest and the hands of his friends’ comforting grasps on his shoulders. 

The three men exited the cabin together and stepped onto the aft deck. Each man scanned the waters that were lit brightly by the soft glow of a thousand twinkling stars, a silvery moon, and the orange flickers of nearby flames. Even with Maxwell describing the area Riley told him they would find her, it was proving to be an impossible task. 

But not one of them was willing to give up. 

This woman wasn’t even Riley, but it didn’t matter. For Maxwell, Drake, and especially Liam, she was proof that what took place the last few weeks was real. That what they felt in their hearts was true.

“Liam!” Drake tapped his best friend's arm and pointed to remnants of boat pieces. ”I see her. Right there.”

Liam squinted, not really seeing what Drake was pointing to at first, until she finally came into view. He stood there, frozen, not wanting to see her like that, not ready to accept what was obvious now: Riley had left him again.

“I … I can get her, Liam,” Maxwell offered through a sniffle and a wispy cry. “I’ll be gentle.”

Liam smiled softly back at him and shook his head. “I know you would, Maxwell. I appreciate that.” He reached down and removed his shoes, tossing them to the side. “But this is something I feel I should do.”

Liam climbed over the railing and stepped off into the water under the watchful eye of his friends on board, who were ready to jump in at a moment’s notice. 

Swimming through the serene waters that had a tinge of warmth from the surrounding fires, Liam made his way through the littered sea. All around him, black plumes of smoke billowed from pieces of fiberglass and plaster. The air was thick with the pungent odor of sulfurous diesel fuel.

 He didn’t understand why these actions meant so much to him. Yes, this woman was proof of the spiritual connection he had shared with his late wife, but she was also the one who took her from him. Why did he feel so drawn to her at this moment? Why did he feel he had to be the one to rescue her from a watery grave? He could very well leave her there, knowing it was what she rightfully deserved for what she had done to Riley. 

For what she had done to him. 

Liam recognized her clothing as she lay still, face down, on the surface of the water. Wrapping one arm around her, he attempted to swim back but found it difficult to do with one arm. Drake, noticing this, tossed out a rope and held onto the other end. Liam wound his wrist around it and began the slow journey of being pulled back to the boat.

_________

“Where am I going, Olivia?” Riley asked with a toothy grin. “Am I staying here or were you able to help me?”

Olivia smoothed down her red sequin gown with a mischievous gleam in her bright green eyes. “Never underestimate a Nevrakis, Riley. I told you I would find a way for you to stay and ... I did.”

Shocked to hear those words, that she would return to her family and friends, Riley let out an elated sob. “Are … are you serious? I’m going back? I’m really going back?”

Olivia nodded. Her thin red lips twisted into a satisfied smile.”Yes. You’re going back.”

“And my baby too?”

“Package deal, Riley. And before you ask … this isn’t temporary. When you return, it’s a done deal. It’s final. The big guy doesn’t want to see you back here for a very long time.”

Riley laughed through her tears of joy. “I sure hope I don’t let him down, then.”

“Heh. Me too.” Olivia turned to face her, her features more solemn now. She motioned behind Riley. “Now ... Your Majesty, I believe it’s time for you to go.  Liam’s waiting for you.”

Riley gave Olivia a small smile. “I don’t know how I’ll ever be able to thank you for what you’ve done.”

“Don’t even bother trying.” The duchess shrugged nonchalantly. “I’m just sorry I’ll miss you two trying to explain all of this to people. I may have to sneak out of this joint and see what you come up with.”

Riley laughed before her expression grew more thoughtful. “Goodbye, Olivia.”

She smiled back affectionately. “Goodbye, Riley.”

____________

Drake and Maxwell reached over the rails and looped their arms around Liam, pulling him up to the deck. 

Exhausted and gasping for a refreshing breath that didn’t include saltwater and ash, Liam collapsed to the floor. Amanda was still wrapped protectively in one arm, her face nestled against the crook of his neck.

Winded, Drake and Maxwell hunched over with their hands resting on their knees.

As the crackles and snaps of fires echoed softly in the background, a brilliant light glowed from the sky and illuminated Amanda with a golden haze.

With eyes wide and mouth agape, Maxwell fell to his knees, speechless. Drake took a half-step forward, his eyes full of astonishment and wonder.

Liam could feel the warmth against his skin and naturally angled his head toward it. As the light faded away, his blue eyes met her brown ones. It was the same two pairs of eyes that had locked on each other in a New York bar two years ago. They shared a silent gaze charged with emotion and passion. It both electrified him and made his heart flutter. Liam studied her eyes, her radiant smile, her face that was as beautiful as a sunrise.

She looked like his Riley. She felt like his Riley. 

With his eyes brimming with tears and love, he swallowed over the lump in his throat and closed his eyes. “I’m dreaming, aren’t I?” 

A sweet smile emerged on her lips, and she brushed her thumb over his damp cheek. “No, my love. You’re not dreaming.” Her voice spoke softly and tenderly. “Open your eyes, Liam.”

[phantomchick]

Challenge: list the WIPs you promised you’d update, and why you haven’t yet

I was tagged by my darling mutual and friend @frownyalfred!

This one seems fun so I'll tag a bunch of people:

@whetstonefires @mikkeneko @lurkinglurkerwholurks @audreycritter @boostergoldsmissingarm @medusaceratops @unpretty @audreycritter @sohotthateveryonedied @oh-mother-of-darkness @huilian @yuzukimist

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I tell myself I don't need anybody (But the truth is nobody needs me)

The reason for this one is actually justifiable! Because of my gameplan for the plot of the fic in order to continue it I need to finish my readthrough of ALL of the modern captain atom comics, a bunch of the crisis event chemo Bludhaven comics and maybe a couple of other ancillary comics of that era too, before I even get to writing the nitty gritty of the fic!

Unfortunately my online readthrough stalled for a while because of IRL difficulties and I've yet to get back into my swing there. Nonetheless I'm still very hyped for this fic once I have everything ready for it.

The second chapter of this is actually all but ready to publish!

Due to the fact it's plot relevant but not connected to either the Captain Atom/Chemo Drop canon which I'm still in the process of untangling for the sake of the plot.

The only things left to worry about for the second chapter before I publish is if it A. breaks up the mood of the fic that was set up in chapter 1 too much, it's a bit of an interlude so the mood is drastically different from the gritty feel of the first chapter and B. some minor characterisation details in the dialogue of one of the characters towards the end of the second chapter. Basically it just needs a little more editing on a paragraph or two and then we're set to post.

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Maelstrom

I actually told people I was unlikely to update it until I got some inspiration so this maybe doesn't quite fit the bill of the challenge.

Nonetheless, the major reason I haven't updated this one is I thought of a way to start off the second chapter after waking up one day but didn't write it down so I forgot and now every time I attempt to start it there's a vague but strong sense of subconscious dis-satisfaction.

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Call Me

I actually came to several conclusions recently about just why it is I've struggled to update this when I said I would!

_

I wrote the first chapter of this wip like 3 years ago and haven't updated it since (god that feels really terrible to say! I'm sorry you guys) but anyway I wrote it three years ago and have been poking at it forlornly ever since as the comments pile up unanswered (Again I'm so sorry haha).

Suddenly! Hope shone! And I wrote 2k of the second chapter out of nowhere just last week!

Now I really don't wanna lose that momentum and, well, hope to ride it enough to actually get the fic's second part done!

But at the same time it's hard to write when you don't really have any desires for scenes you can't wait to include or get to. At least that's what I've found about myself. Like I mostly just want to resolve the fic which I didn't in the first chapter but that's not very concrete as writing motivation goes y'know? Or not concrete enough to INSPIRE apparently.

So it occurred to me oh shit wait I suddenly know why writing this is such a struggle!

Originally when I wrote that first chapter of Call Me it was because I was inspired by @firefrightfic and @skalidra's co written fic Raw Nerve

Which is an abo fic wherein Jason Todd (robin of my heart) gets assaulted by Black Mask and calls Roy for help from the safety of one of his safehouses and then Roy comes in and like helps Jason recover and then helps him kill black mask - which, great fic just super well written and fun

But I was like, Craving the batdad hardcore at the time because the combined excellence @audreycritter, @medusaceratops, @fuyunoakegata and @cerusee were spoiling me with that!

So I wanted to write a version with the same premise but if Jason had called Bruce instead of Roy? And where it wasn't ABO though I only really changed that bit because I have no idea how to write that especially (or how to write in general) so I decided to make things easier on myself at least a little bit

AND THUS!

In the first chapter I already had Jason call Bruce and got to have Bruce have that major moment of r e a l i s a t i o n that was so fun in the fic I was originally drawing inspiration from, y'know?

So now it's like gah, I got the realisation whump and the hurt/comfort already what else do I want here?

Because honestly Bruce ain't gonna kill black mask this we know and writing someone beat the shit out of a rapist while fun in theory isn't actually something that gets my muse to perk up?

So right now the way I'm approaching the wip is just, thinking up potentially fun scenarios to include in the second chapter and seeing where they take me. At the very least it's melted from the cryofreeze my writer's block placed it in and instead of just chipping at it futilely I feel like I'm writing/making more progress with it again finally.

I know many of the people who love the fic think I left it in a good spot and don't think it necessarily needs a sequel chapter but to me it's unfinished, so I want to complete it no matter what!

[canvaswolfdoll]

CanvasWatches: Id: Invaded

Okay, what if we could catch serial killers by entering their subconscious minds (referred to as an Id-Well), where the amnesiac avatar of a investigator must search for clues while also solving a murder mystery created within the bounds of a fantastic, mind bending world? Isn’t that an amazing premise for a combination platformer/puzzle video game?

Anyways, Id: Invaded is an anime. The only major complaint I have is how I would much rather be playing it than watching the proceedings, which probably just means it’s got a good concept.

Uh… it’s a mystery show with a season long arc and character progression so… spoilers? It’s a good show if you’re into that stuff. Handles grit and mature themes well, but… well, mature themes and violent images abound. So be careful of that.

So that’s the spoiler warning.

After watching the first episode and learning the basic concept, two truths were immediately evident: the young-looking police girl (Koharu Hondomachi) hearing the exposition is going to kill someone so she’ll be a candidate to dive into the id-well, and the elderly director guy overseeing the project is 100% the big bad.

Still, just because a couple things are easily solved by knowledge of narratives doesn’t mean there aren’t surprises. Like trepanning is a plot-important element in this for… some reason… it gives a secondary character superpowers!

Don’t… don’t blindly emulate your media, kids.[1]

The first couple of episodes telegraph what elements to pay attention to pretty clearly. Hondomachi is wide-eyed and overly interested in the Id Well machinations, and asks about how one becomes a candidate for entering the machine, and doesn’t look put out by the need to be a killer.[2] She also headbutts a drill to assist in the capture of the first serial killer of the show, so she’s not hesitant to take extreme measures. Which leaves the question: will she kill with the intention of joining the Id Well delving team?

Meanwhile, Takuhiko Hayaseura appears only long enough to be marked as important, but he doesn’t take an active part in the plot. Then the mysterious John Walker Phantom appears with similar old man body language, those dots are connected and you just have to wait for the plot to catch up.

Finally, our protagonist, Narihisago, dwells on wanting to save the perpetual victim of these murder dinner parties he’s investigating, signalling that Kaeru is more than a prop of the gimmick. I didn’t have enough details to take a guess at what her larger role would be, so the reveal in the later episodes was a successful twist.

There is a small tragedy with the structure of the anime course. While I typically prefer the 12 to 24 episode style, as it allows for limits for the artists to work with (like a trellis), and means that the series maintains a consistent narrative without flailing about to maintain momentum until given permission to die, we occasionally get a show like Id: Invaded where the central gimmick lends itself so well to an episodic, killer of the week style stories that I just want to watch the variations and not care too much about the myth arc. Because it’s set to conclude with episode 13, the show can only play with the gimmick for about half the course before having to buckle down and start telling the larger narrative, leaving me yearning for more new id wells and mysteries.

If the show were twice as long, it would’ve been able to play with the gimmick more, and have space to flesh out the investigative team to have actually interesting characters.

The first episodes introduce six characters watching Narhisago and analyzing the world around him to deduce the actual identity of the serial killer, but they have very little dialogue outside of exposition, and their mystery is opaque to the viewer until they solve it. The team could’ve been cut in half without losing anything.

But if Id:Invaded had two cours to stretch out and tell stories, the investigation team could have subplots and character revealing dialogue. But there’s no space for them, so… lost potential.

In fact, if this story was told as a video game,[3] there’d be plenty of space for the Wellside team to have incidental dialogue to develop them. The audience/player can also get more direct satisfaction out of solving the gimmick of each Id-Well, as they get to directly utilize the solution to complete the level. If the hypothetical game takes a page from Pheonix Wright, which is the game I most mentally aligned with the show, there can also be a section after the level where the clues found within the level can be analyzed and the player gets to piece together who the killed is.

It’d be fun.

But… er… the actual story.

It’s fine. The characters make a lot about learning who this John Walker fellow is, but the obvious culprit is sitting right there, so the viewer is just patiently waiting for the characters to catch up, amusing themselves with the episodic portion of the story.

Then, a twist: they find the device used to enter Id-Wells within an Id-Well. So, what would happen if someone used it?

So our protagonist does, and finds himself seemingly back in the real world, though before the death of his wife and daughter. He can set right what once went wrong!

Although… he knows this can’t be real. He remembers everything that led him here, so surely this is permanent.

But what if it is?

First order of business: Narihisago sequence breaks and puts a stop to the serial killer who murdered his daughter early, the fight placing him in the hospital, where he finds… Kaeru? Except her name’s Kiki, and when she sleeps, those around her experience her dreams.

Dreams where she’s constantly getting murdered, often in very brutal fashion. Huh.

Despite the characters attempting to lean into the mysterious nature of the machine allowing them to place people into Id-Wells, I took it for granted and assumed it wouldn’t need explanation.

Instead, we learn Kiki’s power is being exploited to enable the gimmick, which I should have seen coming considering how much the anime is built on women suffering.[4]

Eventually, Narihisago and Hondomachi (the girl who becomes a second Id-Well diver partway through) are able to use the time and space given in this recreated past to find a solid lead on who John Walker is. Just in time for the system to kick them out and for them to climb back out to actual reality.

Hayaseura, learning the jig is up, releases Kiki from the hidden chamber she’s been in, and lets her loose, where her powers rage out of control and pull everyone in the building into various Id-Wells.

He then goes to the chamber with the machines allowing the well-dives, and upon being confronted, he activates a machine to take him in as he shoots himself, intending to wreak havoc in the collective unconscious or whatever.

In hindsight, they probably could’ve just unplugged him and moved on to resolve the Kiki problem. Instead, our nominal[5] heroes follow him in for the final confrontation!

Then Covid-19 struck, and I had to wait three months for the final episode to get dubbed!

All my dubs are delayed. Which is fine. It’s fine and fair. I don’t want anyone to risk themselves just for my entertainment, but I’m allowed to be a little disappointed by fate.

So after a three month delay, I sit down to watch the final episode, not bothering to rewatch anything because I’ve waited three months and a not insignificant portion of my motivation was to just finish the dang thing.

The final episode was okay. The two detective characters work together to outwit John Walker, sending him to the time displaced universe via a machine in the Id-Well of someone who’s now dead.

Which… upon reflection, isn’t a permanent solution. Both Narihisago and Hondomachi went through that experience, and eventually got ejected to their original Id-Wells, and the death of an Id-Well’s owner doesn’t collapse the place (as proved by Hayaseura/John Walker using his own Id-Well to jump about despite being dead himself.

Outside the Id-Wells, the leader of the Wellside Team puts on a prototype suit version of the machine to attempt to get Kiki to stop making a mess of the building. He meets up with her, refuses to shoot her, and they all agree to put her back and maybe try and solve her problem.

So, at the end of the series, we’re mostly back where we started: using an applied phlebotinum girl to chase serial killers. Which keeps the premise open for a sequel,[6] but they’ll need to write a new overarching plot, as I don’t thinking curing Kiki’s dream projections lines up as a murder mystery. It’s possible, but I find it unlikely.

In the end, I enjoyed the show, and I’m glad I watched it. I’d recommend it to anyone looking for a more obscure anime after getting through the Canon of the artform. Still, the amount of female characters suffering, to the point that the plot itself operates off a woman’s suffering is uncomfortable. If there is more, hopefully they can lean off that element.

Also, let me reiterate one last time how Id:Invaded would make a great video game. I buy that Visual Novel in a snap.

Kataal kataal.

-

[1] Not that kids should watch this one. [2] The reason for this limitation is not explained, and is likely unimportant. [3] A desire I wasn’t being facetious about. [4] Most of the murder victims are woman, and there’s a worrying tendency for the killer’s methods to be based on maiming. [5] All three are killers: one a serial killer killer, a second a killer due to self-defense, and the last just a straight serial killer who happened to be useful. [6] And, indeed, a manga continuation started at the same time as the show, so the premise lives.

[chelsfic]

As someone who at least looks like they have things together (idk your current situation or mentality lol) how the HELL do I plot a book/ fanfic/ etc?

Well, first of all, thank you--looks like I’ve got you all fooled!

Secondly, I think everyone has their own process but mine usually looks something like this:

1. I have a daydream (...or a nightdream lol) about a specific scene/image/line of dialogue. (e.g. The seed for Wish You Weren’t Here was the reader panicking trying to figure out how to properly clean up cocaine.)

2. I play with this idea in my head for a while (replaying, replaying, replaying) and start to think about the context of the scene and what comes next. 

3. I start writing! (I may or may not have a fully fleshed outlined for the rest of the story. For me it’s more important to capture that initial enthusiasm to write it down).

4. I keep writing. I know it sounds like something a creative writing teacher would tell you. But, when I’m stuck I just force myself to keep typing and usually I can work out what I want to happen next. (Something happens...and then something else happens...and then something else...etc.)

Most of the time I start off knowing one very specific event, and I’ll have an idea of where it will end...but I need to fill in all the rest as I go. If I’m really inspired then I will outline what’s to come just so I won’t forget any good details. And my outlines are like... 

Maybe she get’s sick?? 

Do they go out to dinner and argue about *****?? 

Does this help??? I’ve described my writing process as being possessed by a demon so.... And I have *indeed* gotten into trouble for promising one thing (fluff) and delivering another (angst). I often sit down to write and I think that things will play out in a certain way and then through the course of thinking it through, watching the words come together, imagining the character’s feelings/motivations--things...transform.

One tip: If you’re worried about being able to maintain a complex plot, break it down into simpler parts and post them as individual stories in a series. Each part can be read as a stand-alone and that way you don’t have to feel that fic author guilt if you lose your momentum. 

[caden]

i feel we should examine the whole idea of “do spoilers matter” or not at a deeper level then ‘people who complain about spoilers are annoying so spoiler warnings are stupid’. like the idea that a lot of you guys seem to have of “if having the plot spoiled ruins the movie for you then the plot wasnt any good anyways” seems sort of... not fully wrong but also underdeveloped to me. like, there are tons and tons and tons of stories that are widely considered to be amazing and have clear artistic merit that you absolutely wouldn’t want spoiled. Like, you wouldnt want to know darth vader was lukes father. you wouldnt want to know bruce willis was a ghost the whole time. For drama to be effective you need tension, and a very very efficient way of keeping the audience engaged is by putting them in a mindset where they’re unsure of what will happen next, or by revealing a game-changing plot twist, or by suddenly putting a character into an unexpected position. It seems totally disingenuous to me to be like ‘well it shouldnt matter to the audience whether or not they get to be surprised by what happens in the film they’re watching’. You can’t honestly believe that to be true. Being able to be surprised by a story is like one of the fundamental draws of good storytelling and probably has been for all of human history. Imagine how much worse US or Get Out or any Shakespeare play would be if you knew exactly where the plot would go before you saw it. I know there’s some research that suggests people actually enjoy stuff more if they already know what will happen but you can cast a lot of doubt on that data-- i think that it indicates more that people are more likely to appreciate a good plot once they understand it more thoroughly, hence why you might like a great movie more the second time you watch it. That doesnt mean there isnt value in the first time, it’s just a different way of viewing it.

All that said, the stuff with people not wanting spoilers for endgame has different wrinkles to it. (dont worry im not about to spoil anything). It can’t all be chalked up to ‘people care super deeply about the characters and plot and the writing is always so unpredictable and engaging that they dont want to know a single thing before going in’. Ive spent a lot of time recently thinking about the way infinity war and endgame are constructed, and they’re made in such a way that REALLY facilitates them being ‘spoiled’. because they’re written around moments. The plot isn’t so much a naturally moving thing with motivations and momentum of its own as much as a connective tissue between various cool things happening. Like, whoa, spider-man just met the guardians of the galaxy. oh sick, theyre in wakanda. holy shit, half of them died. Endgame goes REAAAAAALLY hard on this style of writing. And as a method of milking emotion from the audience, it really really works. Assuming the moments themselves are all effective, you’re guaranteeing constant engagement because every three minutes another epic thing is gonna happen. And I think when people fault marvel fans for being obsessed with spoiler warnings, this style of filmmaking is really what they’re trying to critique. because there’s a suggestion that if your movie is just jumping from crazy twist to shocking death to funny reference to epic fight, you’re losing the thing that should actually be the connective tissue of a film-- its themes, character arcs, ideas, setting... etc. And while I personally don’t think those things are mutually exclusive, (bc i do believe that infinity war and endgame genuinely have themes they try to discuss), i would also agree with the argument that reliance on shocking moments over actual ideas is bad writing. But as I mentioned earlier, a filmmaker like Jordan Peele whose works are generally agreed to be very good also uses this writing style-- his plots escalate via twists and turns and are expertly constructed to keep the audience wondering what’ll happen next, and he does a really great job with it. 

Now, i DEFINITELY think there’s an argument for ‘disney intentionally plays up the spoiler warning angle in a way that’s ultimately toxic to the filmmaking process’. Like I don’t believe that the “tom holland doesnt get to read the script” stuff is true, I 100% think it’s all a publicity stunt-- but they shouldnt be setting a precedent that makes people think doing something like that to a lead actor is acceptable. It’s not how films should be made, and the only reason I’m sure its all fake is because I have enough filmmaking experience to know itd literally be impossible to efficiently shoot a big-budget film under those conditions. Of course all the buzz about endgame spoilers is HUGELY beneficial to their marketing teams, so obviously they’re gonna go hard as hell on enforcing that narrative. Like they 100% WANT everyone to both be spoiling the movie and getting anxious about having the movie spoiled, because its all free advertising for them. But in terms of ‘big movie studios having greedy practices that harmfully affect the artistic process and make their films worse’, its incredibly low on the list of bad stuff that studios do imo. 

So, like, if you’re gonna critique all the various aspects of that, I think you should A) put your efforts towards exposing all the spoiler panic through the lens of how it affects the way that films are produced and consumed, or B) put your efforts towards analyzing the media itself, watch the film and ask ‘is this film more engaging and well-made because of its reliance on moments that can be spoiled? If no, why is that not working? If yes, is that engagement coming at a cost or is it justified? Essentially, I’d like to feel that the criticism was either coming from a social angle or an artistic one. And if that were the case I think i’d have less of an issue with it. Just saying “people are dumb for caring about spoilers” is silly. Maybe it’s dumb, but that’s not the point. People will consume media however they want to and if they want to care about spoilers then they have a right to care. You guys aren’t wrong if you think marvel shit is stupid and badly made, because art is subjective and no opinion on it is wrong. But other people also aren’t wrong for liking and caring about it, and being like ‘we should spoil it for them to teach them a lesson” is gross and totally unproductive. I know 99% of it is jokes but you gotta remember that some people have spent a very long time being very excited to see this movie and doing something that wrecks that for them is just mean and inconsiderate. It’s not about whether them feeling that way is stupid or not, because yeah, it’s stupid to be that invested in superhero movies. It’s about it not being cool to intentionally hurt someone just because you can. And the reason i don’t have a lot of tolerance for it is because I feel like saying “caring about spoilers is stupid” is a kneejerk, surface level attempt at media criticism and we can do better. I obviously care pretty deeply about the way we consume and criticize pop culture and i think it’s in everyone’s benefit to have more productive discourse about this stuff. No ill will towards my friends who are saying the things that i’m ragging on, i obviously don’t think it’s coming from a malicious place or anything-- this is just my read on the situation. Was gonna post this like two days ago but then decided someone would prob message me a spoiler because of it lol

[upslapmeal]

Rosa

You know I was fully ready to write this review the moment the ep finished but I decided to wait until the next day which meant actually waiting three days because I can’t start things without momentum

RIGHT OK HERE WE ARE

you know how in my Ghost Monument review I said I was waiting for an ep to make me Feel Things?

yeah this one really did it

I feel like if I hadn’t known Malorie Blackman would be in charge beforehand I would have been more worried about how this ep would be done

she did an amazing job, what an amazing and powerful ep

and the closest we’ve been to a pure historical in years :’)

it was kinda like The Time Meddler except the Monk is a racist and the Doctor doesn’t mind being called Doc

this ep did a much better job of using the whole team

they weren’t just kinda following the Doctor, they were all off with their little tasks

and I still feel like we know Graham and Ryan better but Yaz got to have a more active role which was great

but the most important bit was that while it was very much an ep starring Doc and gang (fam??) Rosa absolutely was the centre when necessary

and I’m so glad they were preserving history rather than being the ~real reason that Rosa stayed seated

also the tardis felt much better lit this ep

and I noticed Akinola’s score more this ep, Rosa’s trumpet theme was really lovely

is the red t-shirt going to come out for all adventures in the past??

we got to see Thirteen more angry and cold!!

“don’t threaten me”

her whole one-on-one encounter with Krasko in the warehouse

Good Content

(though I cannot BELIEVE that I had to read with my own two eyes that someone thought they had sexual chemistry and might kiss?????)

I still can’t wait for when we get to see her RAGE

LIKE ICE AND FIRE

but for now I’m happy with >:( angery sonicing of villains

SPEAKING OF VILLAINS

I’ve seen people say that the ep had a weak villain but like....

all the ep needed was a reason for them to be trying to protect the past

and racist man from the future did the trick

also he wasn’t really the villain of the episode was he

the atagonist? sure. plot motivation? definitely.

but the real villain was the attitudes of the time and they had to let the villain win in order for it to start to lose

meanwhile Krasko has been yeeted back to dinosaur time or something like that

“nice one Ryan, thanks Ryan”

Ryan’s getting better at touching things and not having bad things happen lol

his scene with Rosa and MLK was great, it was lovely seeing him so in awe

“excuse me Dr King, yes Rosa Parks?.......woah :DD”

and then Yaz got to spend quality time with Rosa too

"there's nothing us brits hate more than a clothing emergency"

super fun fact: that ikea clock in Rosa’s sewing room is the exact same as the one in my bedroom

is it just me or did Rosa leave a thread hanging under the hood????

when they cut from Thirteen ripping her coat to Graham and Ryan showing up to fish I thought she’d like....used strips of fabric from her coat to make bait??

I loved the two of them teaming up to get bus man back to work

then Thirteen and Graham pretending to be a couple lmaoo that LOOK when he put his hand on her shoulder

those two kind of remind me of weird siblings

BANKSY

STEVE JOBS

I was laughing SO MUCH

(mobile phones are really getting around what with Elvis and Frank Sinatra and now Graham)

poor Graham when they were talking about Grace :((

and then later when he had to be the person standing so Rosa was asked to move :(((((

this comparison between him and Wilf :((((((((((

at least he wasn’t the driver like I thought might happen

they all had to be complicit and it was heartbreaking

but they had to let it happen to preserve history and at least they could jump ahead and see the changes rather than experience the gradual change

I’m not 100% sure how I feel about the song? idk it felt far more noticeable and like...cheesy than in Vincent

but at the same time it fit really well as a song

anyway that scene with Rosa gettin arrested followed by Thirteen telling them what she achieved made me tear up

good job DW that was a fantastic ep

Right! Can’t wait for spiders next week!! As someone living alone in a house that frequently has spiders!!! And as someone who really doesn’t like them!!!! 

[thesffcorner]

Avengers: Infinity War Review

Avengers: Infinity War is the Marvel Cinematic Universe’s latest venture, directed by Anthony and Joe Russo. It takes place 2 years after the events of Avengers Civil War and follows Thanos on his quest to gather all the infinity stones and destroy half of the universe.

As this is a film that has been 10 years in the making, with elements and threads from nearly every MCU film, there is a lot to talk about and most of it consist some kind of spoiler. I will go over general impressions in the first half and get into most substantial, plot related spoilers in the latter, but if you don’t want to know anything about this movie before seeing it, I suggest you come back to this article after you’ve already done so. 

This is a difficult movie to talk about; it will definitely draw out a reaction but how positive or negative will hinge on how much you love event comics and Thanos as a character. I can’t say I liked it, but there wasn’t much that I thought was objectively wrong with it, in the way of say the Last Jedi. So let’s start first with the things I liked. 

Nearly every character that’s in this movie gets a moment to shine, be it an action beat, a scene, or just a good one liner. At no point in the film did it feel like a character was underutilized or unnecessary and the Russos do a great job at juggling all the different personalities and plot-lines. Despite the sheer amount of people the action is clear, the film rarely feels like it drags and more or less uses all its players to their fullest potential, with several having a lot more room to breathe and play.

The plot as I said is pretty pedestrian; it’s just “Thanos wants the stones so he can destroy the world and the heroes want to stop him” which works for this type of story. It’s nothing to write home about and the twists come from the individual character plot-lines and while I didn’t love it, it was pretty unobtrusive and allowed for more character interaction which is always a positive in my opinion.

The action is also for the most part excellent, with the Russos making sure everyone gets at least one scene where the kick ass, including the villains. They also get pretty creative with the different powers in the film, especially the infinity stones. There are several downright amazing scenes that showcase the time, reality and soul gems, and the two characters who get to show off the most in terms of power are definitely Thor and Strange.

Speaking of, another thing I liked was that the characters that carried the plot and got the most screen time weren’t the ones I expected would. Tony is the only one who I knew would get a lot of screen time and does, but I actually really liked his story-line; it was probably one of the best the MCU has done so far. The Russos really like and understand Tony’s character, and his emotional conflict having to do with the fear of losing Earth and all his friends, his guilt over the Avengers dissolving, him returning back to paranoia after the dissolution and creating the nano-tech suit were all excellent. The ending was also incredibly powerful for Tony specifically and there is one scene that was so emotionally visceral, it actually unsettled me.

Thor was another character that got a lot of screen time and I’m still somewhat conflicted over his character. I loved Ragnarok and I think Waititi’s Thor was the best and most accurate one we’ve gotten so far. So I was really worried when I read an interview with Hemsworth which talked about how he at first didn’t like the direction his character was going in.

And at first I agreed with him; the beginning of the film especially felt like Marvel just hates Thor and all of his supporting characters and in a way completely negates the ending and the message of Ragnarok, because it makes everything that happens in that movie irrelevant so we could get this one. What I did like was that at least (unlike Taika) the Russos gave Thor a moment to grieve and come to terms with the all the horror that happened to him in these two films and and just be human. There is a pretty touching scene between him and Rocket which I really appreciated and their pairing was very entertaining.

Strange was another character that got to shine and I liked his dynamic with Tony, especially Strange giving up the stone to save Tony’s life (even if he had ulterior motives), after plainly saying he would save the stone over everyone.

And now for some stuff I didn’t like. I’ll start with the more minor things and build up to the two major problems that I had with this movie. ACTUAL SPOILERS FROM HERE ON OUT FOLKS.

Firstly, this is an event comic in movie form with all the good and bad that comes with it. It’s all action and spectacle and contains surprisingly little humanity, other than in the form of jokey jokes and one liners. The tone is grim and though the film doesn’t take itself too seriously it still pauses for grandiose speeches which absolutely kill the momentum dead. Combined with the amount of characters this means that every character that isn’t plot relevant would get one line, or one scene or mostly one joke and then they are out of the movie.

People like Nat and Cap, who have been veterans of the MCU get completely lost in the shuffle. Sure they get fight scenes, but they don’t get any kind of emotional backstory. Bucky, Sam and Rhodey might as well not be here for all they do, even if they do get some funny lines here and there. Bruce fares a bit better, at least being present in most of the film, the entirety of the Black Panther cast gets like, a scene and a half and let’s not even get into people like Pepper, Loki and Wong who literally get ejected out of the film after one scene.

Gamora, Thor and Tony, are the only characters who get any emotional substance to them; the rest aren’t even deigned a subplot beyond the minimum necessary requirement to tie them into the main plot. An especially egregious example of this are both Wanda and Vision and Peter and Gamora’s romances.

Both of these romances were set up in previous films, but while they had time to slowly develop, here they need to be at Earth-shattering, I-need-you-to-kill-me-or-the-world-ends levels. This is less bad with Peter and Gamora because we’ve had more time with both characters and two whole movies to develop them, but Vision and Wanda only started really interacting in Civil War, and now they are at the stage where they are promised to each other? I also didn’t like that both romances had the same resolution; in case things go wrong Gamora and Vision ask to be killed, the only person who can do it is Peter or Wanda and we get a dramatic scene where exactly that happens only for Thanos to swoop in with one of the stones and change the outcome. Diminishing returns, is all I’m saying.

Wanda’s character had nothing to it beyond being worried and in love with Vision, but Peter… oh poor Peter.

First he gets into a stupid pissing contest with Thor about who is manlier which was just the most inane, stupid thing, then he does the exact same with Tony, and then (because the film needs him too) completely loses his mind about Gamora, and attacks Thanos, allowing him to steal the time gem and escape. Look, Peter was never the smartest person, and he does have an insecure, competitive, peacocking streak, but he was never an idiot like this film makes him out to be! Honestly all the Guardians are shafted; Mantis and Drax are barely in the film, Groot gets a single scene of cool, Rocket, while funny is relegated to being Thor’s sidekick/psychiatrist and Peter is turned into an idiot!

And now we get to Gamora. Poor Gamora, this movie did her dirty. Just a reminder, Gamora is one of the most skilled and bad-ass assassins in the galaxy, she is notorious and infamous in the Guardians films. Her entire plot in vol 2 was coming to terms not just with the abuse that Thanos inflicted on her as a child, but also the abuse she was complicit in with the other children, specifically Nebula who she was actually close to. The film ends with them starting to come to terms with this, and forgiving each other, but not Thanos who doesn’t deserve their forgiveness.

But then in this movie, she gets fooled into thinking she killed Thanos, gets kidnapped by Thanos, leads him to the soul stone and gets unceremoniously killed as Thanos’ sacrifice to get the stone. And all the time, she gets emotionally blackmailed and gas-lit by Thanos who keeps calling her his daughter, saying he wants to see her on Titan’s throne, how he sacrificed his crazy ass mission to save her once on her home-planet and choses her as the one thing in the universe he loves but has to trade to get the soul gem. WHAT?

Are we supposed to feel bad about Thanos? Thanos, the sociopathic, sadistic, torturous, unambiguous villain, who by that point in the film has killed the entirety of Asgard, including Loki and Heimdal, and the Grandmaster and the entirety of Knowhere? I absolutely hated the implication that I should feel sad because Gamora was wrong and he did love her. Not only does it badly undercut the message of vol 2 which is abuse is real and has lasting effects, but the movie wants us to on some level side with Thanos and think that Gamora really was ungrateful, since he obviously loved her and she betrayed him. They even give her this stupid speech about how the universe is punishing him by demanding he sacrificed something he loved since he doesn’t love anything, which was so over the top and drawn out and made Gamora sound like an idiot! It made me want to throw things at the screen.

I don’t need or want complexity and sympathetic traits given to a villain that has been nothing but a sheer force of evil and destruction thus far. It would have been so much better to just go the Galactus route with Thanos and make him just an unstoppable chaotic neutral force, rather than some deluded mad genius. I’m sorry, but am I supposed to sympathize with a villain literary referred to as the Mad Titan, whose grand master plan hinges on him believing the overpopulation and over-consumption myth so hard that he wants to destroy half the universe to remedy it? This is the better story than him trying to impress Death that Marvel came up with?

Even if overpopulation wasn’t a myth (which it is) what happens when living beings once again reach the status that they have now? He would have to snap his fingers every 10 000 years or so just to keep the status quo. It’s ridiculously stupid and infuriating and the film treats his plan like it actually has some merit and he’s somehow a mad genius who just goes about it the wrong way. I really didn’t need a 10 min scene of him mourning how he had to kill Gamora to get the stone that lets him DESTROY HALF THE UNIVERSE, complete with sad music and a flashback to baby Gamora asking him what kind of price he paid for his own insane plans. We could have spent that time giving Cap something to do, like maybe acknowledging that Tony, his best friend is lost in space and the world is ending.

The Russos love Thanos, he’s clearly their baby but I hated him. He took time away from the heroes that I wanted to watch and didn’t bring anything to the table but melodrama that was completely unfounded. It was also additionally frustrating because he a) is so much more powerful than any of the heroes combined and b) we know he gets all the infinity stones by the end of the film. So the question isn’t how the heroes will win, but how long will they last against him. The ending also undercuts itself, because the heroes don’t win; the glove self-destructs after Thanos uses it, meaning it would have done that regardless of if Thanos met any resistance while acquiring the stones, meaning this whole 2 and a half hour film was pointless!

The other part of the ending was shocking, but it’s not meaningful, because we know all those characters aren’t dead. We know we will get a Dr Strange 2, Black Panther 2 and Guardians 3, and we know Avengers Infinity part 2 comes out next summer so we know they are still somehow alive. My guess is they are all trapped inside the soul stone, since only the glove got destroyed at the end. Sidenote, aren’t Tony and Nebula still on Titan? So can’t they just like… sneak behind Thanos and stab him now that he’s wounded and can’t use the stones anymore?

This was a frustrating movie to watch and even more frustrating to talk about. There were things I liked, like some of the characters and humor, but for the most part I thought it was overblown, melodramatic and focused too much on the one character I cared least about. I am curious about part 2, but honestly? I feel the same about this movie as I do about event comics; who TF is Thanos and can he get out of my Guardians ongoing so I can return to reading about the characters I actually like and care about.

[snackhobi]

🖊WRITERLY CONVERSATION TAG 

I was tagged by the incredible @yeoldontknow; my answers aren’t as long or well thought out as hers but! this was really interesting to do! I have to admit it’s not often I sit down and do an active introspection on my writing so I feel like it’s been nice to do that

2020

what was the most challenging part of writing this year?

I only started publishing on tumblr around june/august so I guess the most challenging part was actually having the confidence to post in the first place, and then to keep that momentum up and keep posting - I didn’t know anyone in the tumblrsphere (or whatever you’d like to call it) so I only had myself to rely on for motivation. since then I’ve been blessed with lovely friends and lovely readers, but to start with it was scary! feeling like I was yelling into the void and only getting a few whispers back at best.

what was the most enjoyable/rewarding part of writing this year?

all of it, honestly? I’ve not written fic in literal years, and even then it was mostly series I never finished/incredibly short drabbles. to have completed multiple longer fics is… incredibly rewarding. and enjoyable. to have met other amazing writers and beautiful people is… so much more than I ever expected to find, and I find myself grateful daily to have taken the leap and put my writing out there.

what piece has left the most impact on you and why?

probably a human touch. I try to stick with writing one-part stories, as I’m worried about starting series and not finishing them (refer to my past fic writing experiences above), but the amount of support and genuine interest I got bowled me over. I never thought I’d have people so invested in finding out how one of my stories ended! and even more beyond that! I’ve also never written an android au, either.

what have you learned about yourself through the process of writing in the past year?

that I’m better than I thought I was, but I still have so much more to learn. that I’m capable of more than I give myself credit for. that I still love writing and have a real passion for it and that I love creating things. 

how has your writing changed in the past year? how have you grown?

my flow has changed, as has my voice. I think my sentences are less simplistic and I’m prone towards more metaphor. I think I’m also realising that I don’t have to pack in as much detail as I feel like I have to, so I’ve dropped unnecessary explanations of things, although this is something I’m still trying to focus on; readers don’t need to be spoon fed all the time, some scenes can be painted in broad strokes and that’s okay.

2021

ignoring your wips for a second, if you had all the time and energy in the world to write your magnum opus piece, what would it be about? why is that the dream story you’d write, all other things controlled for?

I’ve always been a lover of fantasy. ever since I was a kid. I’ve got an entire world I’ve created in my head and mapped out with characters and places and politics and history and geography - I just. don’t have a specific plot in mind for it. if I had all the time and energy in the world I’d find that thread of a plot and write it, build it up, create something I truly love and care about.

that would be my dream story because it would be the culmination of a lot of things, I think. my life long love of fantasy, my life long love of writing, all under my control, in something I’ve built from the world up.

how do you want to grow in your writing this year?

I’d like to learn how to be concise. how to be punchy and brief without losing any of the emotion a longer fic might invoke. maybe this is just a hand wave but I’d like to be better, I guess, in a way where I feel more personally confident in my own writing. I’m not sure what that exactly looks like but I’d like to find it this year, if possible.

what’s one thing you’d wish to see in the fan-writing community this year?

oh wow, gosh. I’ve barely been around honestly so I don’t know? I honestly keep to myself, for the most part; any interaction I’ve had within the community normally comes from people on the other side, rather than from my end! which is bad, I know, but I hate stretching myself too thinly. I guess in general I’d like to keep up this spirit of mutual support and positivity that I’ve seen writers and readers give each other!

name one new thing you want to try doing in your writing this year.

maybe I’ll dip my toe into smaus? although I’d have to think a plot up first OOF. I consider writing a bit of fun, really; a craft, yes, something to get invested in and pour your heart into, yes, but I’ve not really sat down and had a hard think about what I want to necessarily achieve with it. I think I’d just like to keep writing and going forwards. 

these answers aren’t especially long or interesting but!! thank you for tagging me miss kat 💖

[marjaystuff]

Elise Cooper Interviews the authors of Hush

Hush is a compilation of stories by best-selling crime authors. The premise for each story delves into what is truth and how can someone be trusted. The authors are Ruth Ware, Lisa Unger, Laura Lippman, Alison Gaylin, Jeffery Deaver, and Oyinkan Braithwaite.

These stories feature conspirators, psychics, deceptive lovers, and desperate killers. The collection of six stories ranges from political mysteries to psychological thrillers, in which deception can be a matter of life and death.

Below is a Q A with all six authors:

Elise Cooper: Do you enjoy writing short stories?

Oyinkan Braithwaite: I was excited to be a participant. The premise covered what I am interested in writing.  The theme of my story included some things I wanted to play around with.  For me, short stories are easier to write.  They allow me to be a bit more creative, and I do not have to worry about keeping up the momentum.

Jeffery Deaver: When I write a novel or a short story the emotional payoff needs to be just as high.  With a short story there is no time to develop the character.  They must jump off the page.  Every twist must be earned.  Throughout the chapters there must be “buried” clues.  In a sense a misdirection.

Laura Lippman: Most of the time the reason I write a short story is because someone will ask me.  For me, short stories are hard to write.  In the time it takes me to write a short story I can write a good chunk of a novel.  It takes me at least a month to write a short story, off and on, which is about the time it takes me to write about 1/6 of a novel.

Lisa Unger: I do enjoy writing short stories; although I express myself best with novels.  I like writing the long relationships of the characters.  Everything starts with the character’s voice and I then find my way to the story.  In this story it started with Will’s voice.

 Elise Cooper:  How did you get the idea for this story?

Ruth Ware: I thought about the nature of truth and lies.  How do we deceive ourselves and allow ourselves to be deceived?  Now people are obsessed with fake news. What would happen if the most significant people in your life lied to you?  For me a significant influence was Educated by Tara Westover.

Lisa Unger: The original name for the compilation was The End of Truth.  For me, this was basically catnip, since that is the theme that runs through all my books. What is real and what is not?  How is perception altered by addiction, sleep deprivation, or insanity.? This is what I live for. In this story, my character, Will, has a problem with anger and jealousy and has been stunted by his childhood trauma.  He has made the relationship toxic because of his problems.

Laura Lippman: I am interested in tech and spying.  What happens to people who eavesdrop?�� Are they curious about what is being said behind their backs? In a bad marriage, who is to blame? People grow in different directions and sometimes grow apart.  There is power in balance and their dynamics.  In this story, the wife feels she has been left behind. 

Alison Gaylin: I wanted to write about psychic situations, a missing child, and a Hollywood couple.  I hoped I showed how a missing child is a great equalizer.  It doesn’t matter what wealth or social status someone has if the person cared about it gone.

Jeffery Deaver: In this story it was about deception.  The character manipulated the media.  I thought about a Gravedigger because it makes for a good headline.  Ever since I graduated from the University of Missouri with a journalism degree I have been fascinated about truth in journalism.  Can fake news ever be weaponized? 

Oyinkan Braithwaite: I like to explore the role of social media.  I am fascinated by it.  What are the influences that create a whole false life to get money or popularity? 

 Elise Cooper:  There were interesting tidbits in some of the stories?

Jeffery Deaver: I have been putting grammar teachings in all my books since the beginning. My main character in my novels, Lincoln Rhymes, is a grammar totalitarian. If someone messes up in front of him, he will correct them, no matter who it is.  In a book, dialogue might have grammatical errors, but the descriptive writings by the author should not or they will be called out.  This story dealt with the apostrophe plurals and the articles, “the and a.”

Alison Gaylin: I put in this quote, “Her daughter never calls; she texts.” The context is that the mother will not answer her phone.  She does not care who is calling because she knows it is not her daughter.  Her daughter never calls, but texts just like the millennials today.  

Laura Lippman: I love Greek mythology.  This story had a love triangle and how natural it is to be angry at the third person.  But is it misplaced anger?  The Greek Gods, Zeus and Hera, and their relationship have always bothered me.  He is never punished for his infidelities. Why does Hera punish the other woman?  It is because she cannot punish Zeus. Immortality of the Gods is an interesting mirror to the idea of ‘until death do us part,’ because he can never die. They cannot be parted and end their marriage.

Lisa Unger: I wanted to explore the world of social media.  I did it through this quote, “This is my point. The world. The real world is fraught with imperfections. It’s messy and complicated, often uncomfortable, awkward, painful, dull. It’s not curated and filtered for consumption. “But that’s social media.” “It’s not … true.”

Ruth Ware: I deliberately left the setting understated.  English readers will probably think it takes place in America because of the reference to guns.  I suspect American readers will think it takes place close to the UK, because of my British voice.  From a plausibility point of view, it could maybe happen in Canada.  It would be easier for someone to hide because of the territory, coast line, and fewer population. I hope readers felt slightly foreign no matter where they live.

 Elise Cooper:  Can you give a shout out about your next book?

Oyinkan Braithwaite: It is a novella titled The Baby Is Mine.  I set in during the lockdown period.  The plot has a man finding himself in a situation where he has to discover who is the mother of a particular baby.

Jeffery Deaver: There will be a short story that leads into the novel plot where Lincoln Rhyme has to figure out who is trying to kill him.  It comes out a month before the novel.

Alison Gaylin: Out late spring is The Collective.  It is about people whose children are missing, but has nothing to do with this short story.  The plot has a woman who never got over the death of her young child.  She discovers on the dark web, a group of mothers who were in a similar situation. They are killing those responsible for their children’s death.

Laura Lippman: It is titled Dream Girl about a mystery in a high rise.  I started writing it over a year before the virus.  The main character questions their sanity.  They are thinking, either I am losing my mind or someone wants me to think I am losing my mind.

Lisa Unger: It is titled Confessions on the 7:45 and comes out October 6th. It is based loosely on Strangers on A Train. There is this chance encounter where two women sitting next to each other on a commuter train start conversing after the train has stalled.  This young woman confesses her dark secrets. They end up seeing each other again.

Ruth Ware:  Out in September will be One By One. It is set in the French Alps.  During a corporate retreat one of the founders goes missing.  Soon after there is an avalanche, which traps the group from getting out.  People are getting killed one bye, hence the title.

THANK YOU!!

Snowflakes by Ruth Ware delves into family trust. Her character, Leah, has spent her formative years isolated on a remote island with her family. But their quiet existence, far from the devastated mainland, is cracking. Her father, sensing a coming threat, demands that a wall be built. As the stone blockade rises, the father’s paranoia escalates and so does Leah’s dread that the violence the family left behind has found its way to their sanctuary.

 Let Her Be by Lisa Unger begins with an aspiring novelist regretting his stalker instincts. He can’t stop parsing his ex-girlfriend’s popular social media accounts for clues that her ideal new rural life with the perfect man has a dark side. After all, nobody he knows has actually seen the blissful blogger in the flesh for nearly a year. When Will draws a wary friend into his “investigation,” the real question becomes who’s truly in danger.

 Slow Burner by Laura Lippman has a woman watching her marriage implode over text messages and decides that ignorance is not bliss. Her character, Liz Kelsey promised herself she’d never again spy on her feckless husband, Phil. But then she discovers a string of suggestive texts on his secret burner phone. Even worse, he’s flirting with the woman who shook their unstable marriage once before. But knowledge is power. What’s more dangerous; what Liz knows or what Phil doesn’t know?

 The Gift by Alison Gaylin has a story that is every mother’s nightmare, the disappearance of a child. Actress Lyla McCord and her husband, Nolan received the news that their eight-year-old daughter has vanished. To find her, Nolan reaches out to a psychic gifted with uncanny visions about the lost girl. But Lyla thinks she sees right through him. Is he a con artist or the real thing? Either way, he might be telling the truth. And that’s too frightening for Lyla to bear.

 Buried by Jeffery Deaver will keep readers up at night.  Per his usual, he has many twists in the story. After a long run as a respected journalist, Edward “Fitz” Fitzhugh is on his way out when he stumbles across the story of a lifetime. The Gravedigger is a serial kidnapper who taunts the police with riddles. The other puzzle is his motive, which Fitz is determined to piece together. When an eyewitness to the latest abduction leads Fitz closer to the facts, he realizes that the last great story of his career is not at all what it appears to be.

 Treasure by Oyinkan Braithwaite delves into class divide. The main character Treasure is a wannabe Instagram influencer in Lagos, Nigeria. She shows off a luxurious life in a gated community that her almost five thousand followers can only dream of. The macho mechanic is Treasure’s number one fan, and double taps and blushing emojis are no longer enough. He needs to meet her in the flesh. If only Treasure were more prepared for destiny.

[autoirishlitdiscourses]

Discourse of Saturday, 24 February 2018

Tomorrow. Have a good job of weaving together multiple thematic and plot issues and weaves them gracefully without losing the momentum of your future writing. You also picked a longer one than was actually necessary and that taking this implicit interest of your mind as you write it, all,/please come talk to me this long to get a passing grade; e. All of which you want to say that you can express your central argument is basically clear and explicit about why you think? This page copyright 2013 by Mooney. I'll see you before the reflecting gleams. The number I quoted you is to focus it on the final and with your peers and section to discuss with the self that it would be to conform to the hesitations and frustrations in the way that you had a good job here in many ways, was supposed to be as effective as it needs to happen is that it isn't, because it's essentially a repetition of an A-paper receives is based on your own interest in is tracing out connections between the IRA terrorists, while also technically fulfilling them. All of which parts of the play's deeper structures of the text s you want to, you did well here, overall; you should talk a lot of people haven't done a good weekend, and I think that one difficulty you'd have is to call on you, and it would be a woman. I had hoped, motivating people to go back to your proposal. And will respond to very open-ended would have been making all quarter in section to get back to another student who's scheduled an appointment right at 3:56, which pulled the grades up. Come up with a pen in your selection and changed I'd say that's a pretty safe guess, that your score regardless of race that is, after all, obligate you to what's there at the heart of your total grade, you have something to say that some of these are rather complex.

Great Masturbator 1929, I think that your situational and historical texts might support that central claim was, written that as a way that is, therefore, a quite high A. Ultimately, it seems history is to blame to It seems _______________ is to provide the largest overall benefit to the group's discussion during the quarter; and perhaps then to question 1 and see what people do some of my section website and see whether I can post a slightly modified version of GOLD than you expect. Heaney wrote Croppies. Of course, what do you see as being entitled to. I can get people talking, and that there are several things that interest you to achieve this—I'm not going to be bitter and mysterious. /Discussion/following your recitation 5% of all my students. I absolutely understand that my baseline expectation for them. Let me know if you catch her during office hours due to nervousness and/or social construction of your discussion score reflects this. Thanks for doing a good paper here in order to do this a great deal more during quarters when students aren't doing a very good readings and the writer's argument in terms of which revolve around a general overview to a specific question and/or last, because I think that there are potentially other good readings here, I can't believe that I think what your priorities are time passes differently. Does that help? The Butcher Boy song on p.

It doesn't have to go down this road, a free Excel clone. Which I really appreciate you being able to make a decision quite soon. But there are some provocative hints in your paper would benefit from hearing your perspective. I'm glad to be a tricky business, and I'll get right back to you having the bottom of a text that's written as historical documentation, rather than fiction or poetry. Let me know in San Francisco, who is Godot? You did a very strong claim, as a study aid for other students in front of the class's broader interests. Remember that your topic I'm not seeing at this point is that your first draft is the day before Thanksgiving? I can tell you. However, take a shot at getting the group, and I liked your presentation tomorrow!

For the recitation assignment write-ups except as a section you have an A doesn't raise your GPA any higher than a B. 62. SF author Frank Herbert's creepy and implausibly Lamarckian notion of cellular individual memory and history. Again, thank you for doing such a good job here, but some students may not have started reading McCabe yet if they're cuing off of his other published work. Let me know what's going on, and I think that you speak enough in section credit, which was distributed during our first section meeting and that you need any changes, it currently looks like you're proposing to write a much cleaner text than to worry about whether you wish to dispute a grade by Friday and I'll send it right along. I sent Can Aksoy also overheard the conversation would be to sit down and start writing in a blue book! It's completely up to the details of your argument in a comparable phenomenon, and have set up to me in person instead of answering your own thoughts on the other Godot group for several hours tonight. That's fine just let me know if you want to pick up every possible competing text. My Window Yeats, because the comparison is worth making in the future. Because I do before I leave town. On a related note, do you see those elements in a collaborative close-reading skills on at least that passage I take to be pushed even further, if you'd like. As for your recitation.

An A paper, and I'll get you an additional five percent/for emailing me a copy of The Stolen Child second half in terms of participation/attendance based entirely upon attendance I won't assess participation until the quarter. I thought I'd responded to this question, though others have come in and/or make sure that I'll be awake for a grade in the discussion overall. There are many ways, anyway as if you have any more questions, OK?

Again, thank you for a moment, counting both Saturday and Sunday as a study guide. You should turn the letter in to, supportive of, say, but there really were some amazing performances on it. One-Acts Festival lots of good ideas here I think that it would help to make. You can ask the other is that the student really wants to accomplish, intellectually speaking, or that she should have read episodes 5 Lotus Eaters, starting with In that fair city Eavan Boland, White Hawthorn in the way of examining the exceptions is always patronizing, in which he was delaying the release of the people who attended last night's optional review session. 3:50 or so of all of which is not too late to leave me with a well-balanced outline. I can't speak for everyone, As you may find it if it's not necessary or you've hit the Send button in my opinion, and the marketplace, and gave a sensitive, thoughtful performance that was fair to O'Casey's text, and I am willing to do whatever would be a more specific phrases that specify what you're going through my copy of Ulysses in a close reading of the religion, or at least 72. Really good delivery here that was strong in some form, and I've just been so much thought and effort into it—it was more lecture-oriented. Again, you can leverage your own project in order to receive a grade you on the other presenters in both sections? One of my section Twitter stream for the jugular.

You've got a number of things well here, and that has to somehow be constructed through texts that you shouldn't have a recording or any other changes that you won't mind if I find that asking up front what the finals schedule says. To the MLA standard will negatively impact the attendance/participation calculation. Good luck on the specific evidence and that some of Punishment and of your recording. Please use it as a template to create the next generation moves to New York?

Since you two is going to be an audio recording of your information and how much effort and time into crafting such a way that time passes differently when you're doing other things going on as soon as possible. 2 for later in section, and it doesn't keep your eyes and pretend you're not sure what to do on this. But there are places where your writing despite some occasional hiccups here and there memorizing your selection, effectively, and they also show that you're trying to get full credit on author, title, who can and must not look at it if possible. One category will consist of questions that go straight for it to another text than anything else that might work as the quarter. Thanks. There were several ways that I can attest that this cut off perhaps just that I'm looking forward to seeing your recitation and incurring the no-pass and letter-graded options on GOLD. I think that your reader to take so long to get into one of the Western World, and this is the ideal goal of the musical adaptation; other than quite good, but will incur a penalty to your address book or calr, online or offline. Your own hospitalization, or a B paper one day late is worth 100%, not a certain way, and brought up the last minute. The issues involved and their relationship. 57.

D I think, and I keep it fresh in your delivery; you also missed the professor's syllabus specifies that your delivery was solid in a term paper of this work for you never quite coheres as much as it needs to frame itself explicitly as could be done to set the bar for A papers very high, and that the representation of its most precious illusions. Your writing is clear and effective manner. Coming to my sections on the final, you'll still want to think about why in section. Can't blame them after all, I'd say that I gave you is to provide an argument that gets beaten into people's heads extensively during their earlier education, some people will have a copy of the specific language of your grade and that has been assigned for Thursday, but that it naturally wants to have it reflected in your guitar performances this quarter, so it hasn't hurt your grade back, but rather, more specific ideas when you want to post an audio or visual component requirement, but some students may not, what you most need to be letting other people talking and that asking questions that are so stressful for you.

There are a pleasure having you in any way affect your grade is the only student who sent a panicked email after sleeping into the final exam! Your paper's structure would pay off for you if you indicate that that's quite likely a contributing factor. You Are Old. What kind of a great detail simply because they're quite impressive. That is to drop by, you will quite likely a contributing factor. What is legitimate and illegitimate government? Again, thank you for a solid job here in many ways, this is entirely plausible if you arrange them will depend on what constitutes evidence, and Margaret Atwood's Oryx and Crake, all in all substantial ways to think about how far past 10 a. None of which is an emotional payoff and a bonus for getting me a handout with thoughtful questions and comments in section we will divide up texts for recitation. Let me know that you're dealing with this is more complex matter. One of these headers for both of which strike me as quite ugly. 223 Eavan Boland these poems can be found on the final to pull your grade. In practice, I feel this way. Contact and Communications Policy: I think that talking a bit less and allow for a job well done! It's yours now. 5%, not on me.

But you really make it up until 7:00-6:00 and 12:30 p. Merely doing the reading. More broadly, think in the text in question according what the nature of the paper you had a good job last week were good, and you did very well elicit some comments even from people who are having difficulties with the boys itself. Keeping your A-on your midterm, recitation, and that not doing so. Administrative Issues: 1. Of course!

The bad news is that I didn't have the opportunity may not be a breach of professionalism on your paper is going to structure your paper, and then map those letter grades is rather heavy, and you have some very interesting ideas about what motivates us to experience non-attenders to make out of ink, network connections go down, files become corrupt. Discussion may not be particularly sympathetic. Grade: B—I also think that your topic is frightening, because I think might have been hoping for. I realize that there are several possibilities for later in the class isn't for them, in turn, based on attendance for your patience. This being a nuanced argument that is minimally acceptable will result in a timely fashion in order to be more careful proofreading would help you to extend the Irish identity that has changed by the final exam from 8 a. One percent/of your idea, but the Purdue OWL is a weaker assertion that takes a while because everyone is scheduled from 1 to 18. How might a vegetarian react differently to the on line six; dropped again on 1. For one thing: your writing is so strong that it would have been for Stephen, but it's an interesting question to think critically about your own ideas that you won't have time to meet, but think explicitly about the source of a rather diffuse concept of the quarter because she fell flat on the day when midterms were handed back and being able to get a clearer idea. Because your writing and polished work. Hi! There was one small error, a heavy course load this quarter, I think you would hope yes/no questions often don't.

So what I'm expecting it's a passionate selection that would have been productive. You did a number of things quite well, here. 1570-1582, Godot Vladimir's speech, page 81—, Ulysses. We will discuss expectations regarding papers at greater length before your recitation notes and get you more specific. I'm looking forward to your presentation isn't worth enough points on it. Still, it has taken me this long to get you your grade. I'm not familiar with that one thing that's holding your sophisticated set of ideas in here, and making a clear and effective and generally free of grammatical errors. I'm planning on leaving town for the first people to speak can be both liberating and intimidating. Similar things might be productive: Nausicaa and The Butcher Boy; Stephen Dedalus's rather morbid and misogynist fixation on the midterm, recitation, you should be in section this quarter. No worries about the poem and connect them to larger-scale point winds up being will, I can do to get to everything anyway, especially when you're operating at the assignment write-up, but not catastrophically so. Similarly, Alan Lightman published a wonderful break! Hi! Let me know if Tuesday will work productively will just depend on most directly contribute to reproductive success by selection pressure, in part because it's essentially a repetition of their own self-esteem. There has never met. Again, you should focus on your new topic if you want your reader is familiar enough with the benefit of exposing your recitation and discussion of Innocence 5 p.

5%, although that is necessary to try to force yourself to make at least some background plot summary and possibly other contextualizing information, but an A-would be more specific, particular idea is correct it seems to have let it sit for two or three days, and I'll see you at eight lines, but the Purdue OWL is a very graceful job of setting this up, and died after. Alternately, we could certainly do that, with this edition of the Artist As a Young Man, which is to have occurred, but it's your job to avoid large amounts of repetition of their own identities: not all of your future, and nicely grounded in a poverty-stricken family; b you're still able to give information that Francie does. There has just been so much. Though it was my choice, and Margaret Atwood's Oryx and Crake, all in all, Chris! 10 a.

If you choose, prepare a set of texts should be careful to stay above the compare/contrast paper which is substantially better than I had the pleasure and honor of being helpful. A-or higher. Presenting a paper. However. If I recall my ancient reading of Yeats's life, even if it's late or I'm in a grading daze and haven't used the same time, but you're the one you sent me this email so I assume you're talking in general, and you've mostly done with the TA strike that you realized that your interpretive categories for Ulysses are grounded firmly in a bonus for attending section on the issues involved, among other things, you should definitely read about or 'around'? Your paper has at least 80% on the syllabus, provided that you must turn in your delivery showed that you want, or should I use my recording device to vibrate instead of arguing strongly for the quarter, unfortunately, whom I suspect that you don't feel comfortable talking to me. But I'm glad that it would have a thesis yet; just start writing as communication, electronic or otherwise unresolved. There are a lot of similarities to yours, and a lot of ways. Many thanks. It is not necessarily the only thing preventing you from attending is that you would have most needed in order to follow it. All in all, though. —For instance, to push back the number of things well, here, and showed in the quarter, and this is a minor inconvenience. 764, p. So, think about Simon and Mary Dedalus in Ulysses, and the way: It's often that the questions on the final, but it would be exhausting for someone who is a specific question and arguing a specific claim about what an ideal relationship with Milly reading the text encourages agreement, belief, or the viewer is likely to find a twelve-line chunk; pick a small number of ways.

Welcome to speak can be a useful alternative view that may be related to grotesquerie. The Butcher Boy, so that you should then speak to me I'm looking forward to your attendance/participation calculation. You would have worked more effectively with the material,/your grade from dropping substantially.

I am not. You really do have some perceptive readings, I think you're prepared quite well so far, but I don't round up at a bad thing, and bring in several ideas for discussion with the recitation of a topic is potentially very productive choice for you. Hi! I'm sending this. I think she's worked hard this quarter—I've really enjoyed working with, though it's probably not last unless some totally new narrative path suggests itself to me.

That's all that you often generalize a great deal more during quarters when students aren't doing a large number of difficult texts we're dealing with the critical discourses surrounding the texts, a copy of Dialectic of Enlightenment that is being discussed; so Mary may be a useful skill, too, about what you're doing it is.

If you're thinking about what your primary focus should be more careful proofreading would help to increase the specificity of what your central argument? You have to follow up a bit more would have been a positive influence on your final grade for the quarter, but I'm sending this. Before I forget: Please send me an email from me later that day to be crying about? I used to be taken by the time period and you really have done some very important ways. All of which is one of the calculation described there may not be surprised if they are here. But having specific plans for how you're going to be avoiding picking too many pieces of textual evidence that best support your specific point of thinking about it in a way that the penalty, which I haven't been able to right; that we didn't get a fresh eye, asking yourself what your challenge is going to be. On knowledge that you recited before. One of the poem responds to these questions and were so excited by your selection, in the context of Synge's play, I'd move into the wrong person and his descendants live in Ireland for three generations, but all in all, and attention to how other people talking would have been, though, there's an additional viewpoint on your paper and final arbiter of whether this happens.

I realize. You can hand me your copy of Dialectic of Enlightenment or can get the same degree that you do all the fun under Liberty's masterful shadow; To-morrow the bicycle races Through the suburbs on summer evenings: but to choose something else if you'd like to offer than you might, if you have any questions, OK? I've learned myself over the last line of your paper a more specific about your other texts to set up to your childcare provider during class for the jugular. A in the delivery itself that you'd put a printed copy. Again, I'm happy to talk about, and that perhaps this is a pleasure working with, then you have some breathing room too, but none of the total quarter grade at the beginning of section: Evaluations! VIII. 4 November. You move plausibly between close readings by a group that's often been painfully silent this quarter; b she and her husband with a set of additional purposes, as I understand that that is an explanation of how successful your paper is basically good. Of course the idea of his speech and, Godot Lucky's speech to the performance and discussion tonight. Ultimately, what are our responsibilities to each other you give a fair amount of time that you need to do this. Professional speech and had a low C in the text but using those specifics as an eight-to-date, then you'll get other people are reacting to look for cues that this set of opening thoughts about it in a lot this weekend. One thing that you've chosen, it's a reflective piece and your recitation, you should actually do is to think that this is to engage in a printed copy of the IDs. He would be to have a good selection, I think, don't show up. Again, thank you for a paper that pays off as much as it could be made, in the course so far is the ideal and perfect expression of your argument though I hadn't thought out the issues involved in their papers, and this is the best paper you had a 99, so I suppose, is not good, overall for the term. Many thanks. That being said, most of your finals, and you managed to do so at this point is a strong preference on going second or third, although it often is, I suspect. These papers address to some people. —Even by one person who speaks in response to such mawkish and purple thoughts.

Molly in Ulysses, is to provide a/very limited number/of a person's thoughts based on Yeats's poetry may tie into developments in Irish literature in Celtic mythology in a plug for Zotero which is the case that two people who are friends of mine. This can be, or deviates only rarely, and I've noticed that the professor said that Wednesday is the amount of reading the assigned texts. However. You did a very strong job yesterday you got a lot of important concepts for the sake of having them fresh in their introductions and/or Bloom's anxiety over Molly's affair despite his own paper after letting it sit and take a look at the Recitation Assignment Guidelines handout. I think you've done your recitation/discussion assignment: I am.

[hub-pub-bub]

Punctuation, largely invisible and insignificant for normal people, as it should be, is a highly personal matter for writers.  Periods, commas, colons, semi-colons:  in their use or non-use and in their order and placement, can represent elaboration, conjecture, doubt, finality.  And in aggregate, over the course of a text, the rhythms of punctuation advance an author’s worldview and personality as surely as any plot or theme.  Patterns of punctuation usage are the writerly equivalent of an athlete’s go-to moves, or a singer’s peculiar timbre and range—those little dots and squiggles, in a sense, encode your voice.  Anthony Powell’s colon (pardon the inadvertent image) is as signature as Kyrie Irving’s crossover or Rihanna’s throaty cry.

For me, there is no punctuation mark as versatile and appealing as the em dash.  I love the em dash in a way that is difficult to explain, which is, probably, the motivation of this essay.  

And my love for it is emphasized by the fact that many writers never, or rarely, use it—even disdain it.  It is not, so to speak, an essential punctuation mark, the same way commas or periods are essential.  You can get along without it and most people do.  I don’t remember being taught to use it in elementary, middle, or high school English classes; I’m not even sure I was aware of it then, and I have no clear recollection of when or why I began to rely on it, yet it has become an indispensable component of my writing.

It might be useful to include an official definition of the em.  From The Punctuation Guide:  “The em dash is perhaps the most versatile punctuation mark.  Depending on the context, the em dash can take the place of commas, parentheses, or colons—in each case to slightly different effect.”  The “slightly different” part is, to me, the em dash’s appeal summarized.  It is the doppelgänger of the punctuation world, a talented mimic impersonating other punctuation, but not exactly, leaving space to shade meaning.  This space allows different authors to use the em dash in different ways, and so the em dash can be especially revealing of an author’s style, even their character.

The maestro of the em dash—as he was with many things (and apologies here, it is difficult not to annoyingly play, or seem to play, on a punctuation’s usage while writing about it)—was probably Vladimir Nabokov.  The locus of Nabokov’s attention is usually at least half trained on the fictional document he’s producing, so em dashes often serve as a kind of in-text footnote.  But in a more general sense, he simply employs them as part of his exemplary stylistic machinery, using them as counterweights against commas, as parenthetical ballast and rhetorical cog.  In Lolita, Nabokov is engaged in creating a calibrated ironic voice that half-emulates speech while retaining its smooth literary surface, and em dashes enable a more precise pacing of words and thoughts from the sentence to paragraph level.  A representative passage chosen completely at random:

I launched upon an “Histoire abregee de la poesie anglaise” for a prominent publishing firm, and then started to compile that manual of French literature for English-speaking students (with comparisons drawn from English writers) which was to occupy me throughout the forties—and the last volume of which was almost ready for press by the time of my arrest.

I found a job—teaching English to a group of adults in Auteuil.

Notice how the use of em dashes here, not strictly prescribed by any pressing grammatical need (the first could be justly replaced with a comma, the second eliminated), are used to create an internal structure that bridges paragraphs.  The long sentence at the end of the first paragraph closes with a short clause set off by an em dash, and the short sentence at the beginning of the next starts with a shorter clause also enclosed by the em.  The chief effect of this kind of bracketing is, I think, intuitive and rhythmical, adding to Humbert’s pompous purr, but there is a secondary effect of conjoining the ideas of transgression (his arrest) and seeming normalcy (finding a job), a pas de deux central to Lolita’s thematic heart.

A more contemporary user of the em dash is Donald Antrim.  Antrim’s em dash helps to create a faltering narration that expresses the pervasive emotional mood of his work, an almost paralytic anxiety.  Take this first sentence, from the story “Ever Since:”

Ever since his wife had left him—but she wasn’t his wife, was she? he’d only thought of her that way, had begun to think of her that way, since her abrupt departure, the year before, with Richard Bishop—Jonathan had taken up a new side of his personality and become the sort of lurking man who, say, at work or at a party, mainly hovers on the outskirts of other people’s conversations, leaning close but not too close…

The narrator has only just begun to have a thought about Jonathan’s wife before a new thought intrudes, needlessly clarifying who she is to him before we even know who he is.  “Needlessly” in story terms, though the larger narrative need is to exemplify, through halting syntax, Jonathan’s excruciatingly circumspect mental process.  This is, to a degree, Antrim’s own process, and we get doses of it even in more remote, comic narration, such as in the long beginning sentence—Antrim is a great lover of long beginning sentences—of “An Actor Prepares:”

Lee Strasberg, a founder of the Group Theatre and the great teacher of the American Method, famously advised his students never to “use”—for generating tears, etc., in a dramatic scene—personal/historical material less than seven years in the personal/historical past; otherwise, the Emotion Memory (the death of a loved one or some like event in the actor’s life that can, when evoked through recall and substitution, hurl open the floodgates, as they say, right on cue, night after night, even during a long run)—this material, being too close, as it were, might overwhelm the artist and compromise the total control required to act the part or, more to the point, act it well; might, in fact, destabilize the play; if, for instance, at the moment in a scene when it becomes necessary for Nina or Gertrude or Macduff to wipe away tears and get on with life; if, at that moment, it becomes impossible for a wailing performer to pull it together; if, in other words, the performer remains trapped in affect long after the character has moved on to dinner or the battlefield—when this happens, then you can be sure that delirious theatrical mayhem will follow.

Here, Antrim actually violates, as he sometimes does, a basic rule of parenthetical em dash usage, that you can only use one set per sentence.  The violation of this stricture is unsettling and makes it difficult to keep up with meaning.  Which, in a sentence and story about artistic chaos and loss of control, is, of course, the point.

Emily Dickinson is probably the most well-known user of the dash, to such an extent that “em” might justly be taken as short for “Emily.”  She habitually ended lines with em dashes, sometimes to an obvious effect, sometimes not.  Here is her most famous stanza:

Because I could not stop for Death— He kindly stopped for me— The Carriage held but just Ourselves— And Immortality.

What are the dashes doing here?  On the one hand, since they don’t serve any obvious syntactical function, they can be read simply as a stylistic tic.  But they do create a feeling of hesitation that serves the poetry.  Without them, this stanza is a nicely crafted, clever piece of thinking about the inevitability and dignity of death.  With them, we feel Dickinson’s hand hovering over the page, considering her subject.  This lends a poignancy to the poem, a sense of the artist thinking through her subject, considering the terms of her own death.  Her use of the em dash obliquely posits writing as an elaborative act, and in many of her poems the em transforms what would otherwise be somewhat inert, though great, common meter into something alive to itself, process-oriented.

My own favorite use of the em dash is for elaboration, similar to the way many writers use colons.  As a personal rule, I only use colons in a specific context:  that is, if what follows answers the question what?  Em dashes, I find useful for both narrowing and expanding a train of thought that might lose momentum in a new sentence—in this sense, they also stand in for the semicolon, but semicolons are best used (in my fuddled cosmology of punctuation) as dividing walls between two related but independent thoughts of approximate equal value (I wholly reject, by the way, that old bullshit about eliminating semicolons).

In truth, I probably overuse the em, find too much pleasure in asides, in explanation.  But I can’t do it, I cannot write terse little impregnable Tobias Wolffian sentences that stand on their own.  Though I can admire a page of these sentences—the calm presiding rationality, like civilized people queueing to exit the building in a fire drill—I am drawn instinctively to the dithering em, some contingency always butting up, worrying the previous sentence before it’s had a chance to end.  As Noreen Malone put it in a self-deprecating Slate article, “The problem with the dash—as you may have noticed!—is that it discourages truly efficient writing.  It also—and this might be its worst sin—disrupts the flow of a sentence.”

This is true.  But is efficiency the point or purpose of writing?  It seems to me that novels, especially, are almost anti-efficiency devices.  Yes, we want to communicate clearly, but sometimes, just as crucially, we also want to clearly communicate the difficulty of communicating clearly.

Image Credit: Wikimedia Commons.

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ADAM O’FALLON PRICE is a writer and teacher living in Carrboro, N.C.  The paperback edition of his first novel, The Grand Tour, is now available on Anchor Books.  His short fiction has appeared in The Paris Review, VICE, The Iowa Review, and many other places.  His podcast, Fan's Notes, is a bi-weekly discussion about books and basketball.  Find him online at adamofallonprice.com and on Twitter at @AdamOPrice.