#and not the title the whole trilogy shares

[saturnniidae]

Looking back, I feel like the first redflag with RotT was that it's called Trollhunters:Rise of the Titans, and not Tales of Arcadia:Rise of the Titans

[mostlysignssomeportents]

Ian McDonald's "The Wilding"

I'll be in TUCSON, AZ from November 8-10: I'm the GUEST OF HONOR at the TUSCON SCIENCE FICTION CONVENTION.

Ian McDonald is one of those absurdly brilliant novelists that just leave me wondering the actual fuck he manages it. How does he cover so much ground, think up so many compelling characters, find so many gracenotes, conjure up so many complicated emotions?

McDonald burst on the scene in the late 1980s, with the 1988 novel Desolation Road and then his 1989 Out On Blue Six, a slick, stylized cyberpunk-meets-Orwell tale that overflowed with beautiful prose, technomysticism, and sly jokes that hid sneaky truths that hid even more sly jokes:

https://memex.craphound.com/2014/01/20/out-on-blue-six-ian-mcdonalds-brilliant-novel-is-back/

By my count, McDonald has now published twenty books – mostly novels, but a couple short story collections (and the most amazingly demented, Tom-Waits-inflected teddybear murder comic imaginable, 1994's Kling Klang Klatch):

https://irishcomics.fandom.com/wiki/Kling_Klang_Klatch

McDonald's work is truly globespanning. While he's made his mark on the Martian soil, and overtaken the moon with the Luna trilogy (his definitive rebuttal to Heinlein's Moon Is a Harsh Mistress) he is widely adored and much-awarded for the glittering, futuristic versions of Brazil (Brasyl), Tanzania (the Chaga series), and India (River of Gods).

Indeed, McDonald's imagination has roamed so far over the Earth and the solar system that it's possible to overlook his fantastic reimaginings of Ireland, the land where he was raised. There's his Philip K Dick Award-winning 1991 novel King of Morning, Queen of Day, a swirling, mythopoeic novel of Celtic mysticism:

https://www.baen.com/king-of-morning-queen-of-day.html

And then there's 1992's Hearts, Hands and Voices, which is lowkey one of the best novels I have ever, ever read – a scorching science fictional allegory for The Troubles, but with the gnarliest biotech weirdness you can possibly imagine:

https://archive.org/details/heartshandsvoice0000ianm/mode/2up

McDonald's books cover so much goddamned ground, but one feature they all share is a prose styling wherein every sentence is at least 20% poetry, a fraction that somehow, impossibly, rises to as much as 150% in certain especially shiny passages.

Like this passage, which opens The Wilding, McDonald's new horror novel that marks his first return to Ireland since 1992:

Autumn lay on the great bog in silvers and tans, late purples and duns.

The sun rose above the tall ash saplings and feral sycamore. It called the birds into full voice. Stabbing shrills, tumbles of notes, the flutes of dove-call, frantic ticking hisses, song upon song. In hedgerows and copses, among the pale foliage of the birches, in the weave of deep willow and the bramble fastnesses, each bird called and was heard. In this season the peatland held the day's warmth through the night and on the bright, clear mornings rivers of mist formed, filling the subtle hollow places in the exposed cuttings, the bogs and fields. High sun would dispel it but at this hour half of Lough Carrow lay mist-bound. Each blade of grass hung heavy with dew, the clumps of sedges were already browning, the bracken curling and crisping.

A pair of horns lifted above the willow scrub and out-grown ash hedges of the Wilding. Polished tips caught the low sun and kindled as bright and keen as spears.

https://www.gollancz.co.uk/titles/ian-mcdonald/the-wilding/9781399611503/

Oof.

I would drop everything to read Ian McDonald's grocery lists but after that opening, I wasn't going to put this one down, and I didn't, reading the whole thing on yesterday's flight home from my gigs in Atlanta this week.

The Wilding is (I'm pretty sure?) McDonald's first horror novel, and it's fucking terrifying. It's set in a rural Irish peat bog that has been acquired by a conservation authority that is rewilding it after a century of industrial peat mining that stripped it back nearly to the bedrock. This rewilding process has been greatly accelerated by the covid lockdowns, which reduced the human footprint in the conservation area to nearly zero.

The story's protagonist is Lisa, a hard-case Dubliner who came to the bog to do community service after a career as a crime syndicate driver for hire, a woman who never met a car she couldn't boost and pilot in or out of any tight situation. After years in the bog, she's ready to start a new life, studying Yeats at university, indulging a late-discovered love of poetry that has as much to do with her redemption as her years in the wild.

Lisa's last duty before she leaves the bog and goes home to Dublin is leading a school group on a wild campout in one of the bog's deep clearings. It's a routine assignment, and while it's not her favorite duty, it's also not a serious hardship.

But as the group hikes out to the campsite, one of her fellow guides is killed, without warning, by a mysterious beast that moves so quickly they can barely make out its monstrous form. Thus begins a tense, mysterious, spooky as hell story of survival in a haunted woods, written in the kind of poesy that has defined McDonald's career, and which – when deployed in service of terror – has the power to raise literal goosebumps.

There's a lot of fantasy that deals with Celtic mythology, including McDonald's own King of Morning, Queen of Day, but the vibe of that stuff tends to the heroic and romantic – sure, there's the odd banshee, but in the main, it's mischievous wee people, pookas, and leprechauns. More fey than fear.

But Irish mythology in its raw form is terrifying. The monsters of Irish storytelling are grotesque, mean, remorseless, and come in every shape and size. Some authors have done well by going back to the bestiary for the deep cuts. When I was a kid, I must have read John Coyne's Hobgoblin fifty times (mostly because it was about D&D, which I was obsessed with). I haven't read this one since I was about 12, and I have no idea if it'd hold up today, but it left me with a deep appreciation of the spooky multifariousness of monsters who dwell in Ireland's bogs:

https://en.wikipedia.org/wiki/Hobgoblin_(novel)

The Wilding is a suspense novel, which means there's no way to really sum up the plot without spoiling a lot of the affect, but suffice to say that McDonald brings large swathes of deep Irish lore to the surface, and it had me reading as fast as I could and wanting to put the book down and hide.

What a writer McDonald is! The fact that this is the same guy who wrote last year's stunning secret-history/solarpunk/uncategorizable wonder that was Hopeland beggars belief:

https://pluralistic.net/2023/05/30/electromancy/#the-grace

Read you some Ian McDonald novels, is what I'm trying to say. This one is only available in the UK, if that's not where you are, consider mail-ordering it. Looks like they've got stock at Forbidden Planet for £19 plus £18 shipping to the US. Worth every penny:

https://forbiddenplanet.com/424306-the-wilding-hardcover/

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/25/bogman/#erin-go-aaaaaaargh

[velvet4510]

I guess I’m one of those weirdos who so deeply feels the essence of an instrumental leitmotif from a film score associated with a particular character or couple, that I start associating said leitmotifs in my head with ANOTHER character from an entirely different film/book/series. And I’ve built up a whole library of leitmotifs for LOTR characters even though I ADORE Howard Shore’s original score for the trilogy. I consider these leitmotifs to be add-ons, NOT replacements.

Nor do I intend to completely disassociate all of these themes from their intended films/characters; some of them are perfect fits for the films they were written for. It’s just my mind going wild like usual. (But I admit, in some cases, the pieces are from films I dislike, and thus I would rather see these great songs associated with something of LOTR quality rather than what they were actually stuck with, especially when the lack of lyrics gives you the freedom to let the melody take you wherever it takes you, personally.)

In the case of Silmarillion characters and relationships, well, it’s a different story - it really is my attempt to cobble together what could be a hypothetical score, if it were brought to the screen. Obviously it’d never be this exactly, but I would hope a composer for a potential screen adaptation of The Silmarillion might be inspired by themes like these.

In some cases, the characters these themes were originally written for don’t resemble the corresponding LOTR characters very much, or at all. Also some of them have titles that by themselves could not be more different from and unfitting for Tolkien’s world. It’s just the melodies on their own, without context or even name, performed by these gorgeous orchestras, that have come to remind me of particular Tolkien figure(s).

I also have found lots of “love themes”, both romantic and platonic, for character relationships, as you’ll see. I’ve included romantic themes for canonical couples, as well as for pairings that I personally ship. I know Shore already gave Aragorn and Arwen a theme, but as I said, these are all extra additions and not replacements.

And yes I have a lot of Star Wars stuff in here, because I love Star Wars…but I love Tolkien more.

For the heck of it I’ll share some of these, with links to each song on YT. It’s hard to explain why I made these choices/associations, but maybe you’ll get it if you listen to some of them.

CHARACTER THEMES

The Valar = “Guardians of the Whills Suite” by Michael Giacchino

Lúthien Tinúviel = “Once Upon a Time in the West” by Ennio Morricone

Túrin Turambar = “Anakin’s Theme” by John Williams

Nienor Níniel = “Helena’s Theme” by John Williams

Frodo Baggins = “Romeo” by Nino Rota

Sam Gamgee = “Rey’s Theme” by John Williams

Aragorn = “The John Dunbar Theme” by John Barry

Gandalf = “Yoda’s Theme” by John Williams

Legolas = “Rose Tico” by John Williams

Éowyn = “Marion’s Theme” by John Williams

THEMES FOR LANDS/LOCATIONS

The Undying Lands = “Out of Africa” by John Barry

ROMANTIC LOVE THEMES

Frodo x Sam = “Love Theme from Ben-Hur” by Miklos Rozsa

Beren x Lúthien = “Love Theme from The Godfather” by Nino Rota

Faramir x Éowyn = “Han Solo and the Princess” by John Williams

Aragorn x Arwen = “Love Theme from Cinema Paradiso” by Ennio Morricone

Sam x Rosie = “Love Theme from Dances with Wolves” by John Barry

Bilbo x Thorin = “Andante Cantabile” by Bernard Herrmann

Thingol x Melian = “Indecent Proposal” by John Barry

Fingon x Maedhros = “Wuthering Heights” by Alfred Newman

Galadriel x Celeborn = “Central Park” by James Newton Howard

Finrod x Bëor = “Somewhere in Time” by John Barry

Aegnor x Andreth = “Love Theme from The Scarlet Letter” by John Barry

Finduilas x Gwindor = “Deborah’s Theme” by Ennio Morricone

Túrin x Beleg = “Midnight Cowboy” by John Barry

Mablung x Nienor = “Wanda and Vision” by Christophe Beck

Tuor x Idril = “Conversation Piece” by Bernard Herrmann

Eärendil x Elwing = “Tennessee” by Hans Zimmer

Elrond x Celebrían = “And Then I Kissed Him” by Hans Zimmer

Pippin x Diamond = “Love Theme from East of Eden” by Leonard Rosenman

Merry x Estella = “Love Theme from Rebel Without a Cause” by Leonard Rosenman

Elanor x Fastred = “Theme from A Summer Place” by Max Steiner (arranged by Percy Faith)

PLATONIC RELATIONSHIP THEMES

Elrond & Elros = “Brothers” by Hans Zimmer

Merry & Pippin = “Flying” by John Williams

Legolas & Gimli = “Rain Man” by Hans Zimmer

Boromir & Faramir = “Luke and Leia” by John Williams

Bilbo & Frodo* = “The Mother’s Love” by Miklos Rozsa

Sam & Elanor = “The Ludlows” by James Horner

I may add to this as I think of more, or even replace certain songs entirely if I come across a better match. Always return to the pinned post here to see the most recently updated list.

* Bilbo & Frodo’s melody is heard in the first minute of the linked track, 0:00–1:01, and again at 1:48. Also, the love theme I associate with Frodo & Sam starts playing at 1:03, making this whole thing fit all the hobbits even better.

[moodymisty]

So recently I've read the first trilogy of the Heresy for the second time, and I can't get Horus from those particular books out of my head.

He's tired. Annoyed. Worn down. He tries his best to save his faces and as time goes further he fails more and more often.

A Primarch could take a lot. He's a mighty being that is unable to get a burnout just from some paperwork. But he's got the whole paperwork of the Crusade, several millions of ships, billions of people to organize and command. In addition to his and his brothers' legions matters.

Even his Mournival starts to annoy him. In private, he is slowly losing his charm and fatherly demeanour, becoming grumpy and brooding. He only allows Erebus to stay close to him and... to you.

One late night he just walks into your shared rooms and stays silently in the doorway, his arms crossed in his chest. In the dim light coming from the corridor you could've seen the circles under his eyes and the weariness shown on his face. If you weren't asleep.

He could stay like this for a long time, even when the work is yet to be done and with his sons and Erebus waiting for him. Those quiet moments, of which you don't know, keep him at least somewhat sane.

At times like this, Horus feels like he can finally let himself go. He can slide to the floor, leaning against the wall as he just looks at your sleeping form, unwilling to crawl to the bed you two used to share every night so to not disturb your sleep. He doesn't have to be the Warmaster at those moments, he is not even a Primarch — as much as he loves and shows off his titles the amount of work cast onto him because of it makes him wish he was a baseline. He's just Horus, a man in love who allowed himself to have a moment of peace next to his unaware beloved before he comes back to his duty.

One day you wake up when he's like this, sitting next to the bed, only his head rested on the sheets. Maybe it was a bad dream or a sound he involuntarily made, it doesn't matter. You crawl to him quickly, still half-asleep, your voice raspy and your eyes half-lidded, yet you're still worried, almost scared of his uncharacteristic behavior.

"I'm alright, my love," he whispers, as he gently holds your hand in his large one.

But you do not believe him. You're hissing half-joking scolding as you drag him to the bed to you, berating him for his overly responsible behavior and enlightening him that he'll end up passing out in the middle of a battlefield if he doesn't get to know about some work-ethics. It's all jokes, and even the dragging is — if he didn't want to, he wouldn't move — until instead of a laugh, a small sob escapes his lips.

There's a moment when you have to be quick. You have to cup his face, make his teary eyes look at you. You can't let him leave, excusing himself with some dumb reason of being just "too tired".

After that, you both can finally slow down, and the loss of pressure on Horus shoulders, even if it is for just a moment, makes him become a mess.

He complies silently when you gently pull him closer so his head rests on your chest. You feel the violent shudders coming through his mighty frame. You feel your nightdress become wet from the tears, that pour out of his eyes with no sound and no resistance from his side.

Horus breaks — crackles — quietly. Like the sand of a sand castle, he breaks down accompanied by a soft lull of the shore.

You comfort him, and you can't tell how much time you've spent on it. But eventually your gentle touches and soothing words make him close his eyes and fall asleep.

You know he needs this night much more than you do.

awww Horus;;; this so so sad :'(

[damianbugs]

Hello✨👋. What's your favorite era of Batman? What's your favorite costume? I love reading your thoughts on everything. What do you think caused the writers to decide to make Batman darker even though at the time he had stories that touched on interesting themes. If you were a writer what characters would you develop and in what direction? Are there any underrated characters you love?

HI !!! this is so sweet, thank you for asking so many things! i would love to answer :]

my favourite batman era was the 90s !! i think it's more honest to say there's not been a single era i didn't like entirely (even the infamous new 52 had its good stories) — but when i add up all my favourites, a large majority of those comics are found in the 90s! it was a time for those darker stories to thrive without relying on ridiculous plot-twists and unnecessary violence for a shock factor.

just to name a vew of my all time favourites from this era: Batman Venom (1991), Tales of the Demon (1991), Batman Night Cries (1992), Batman The Ultimate Evil (1995), Batman Prodigal (1997), Batman War on Crime (1999), Batman & Dracula Trilogy (1991-1999) OKAY ILL STOP HERE BUT BASICALLY IT WAS ALL FANTASTIC

on that note, i think the turning point for a Darker Batman was in the 80s, and there's many reasons for it! one of the main ones i think is that for comics as a whole, the 80s was a chance to START exploring explicit adult themes in comics — due to indie titles! despite popular belief, back then the big 2 of comics weren't churning out nearly as many comics as it seems like on paper, with much more maturer and 'gritty' independent titles gaining popularity. i think batman writers noticed and were keeping up with that was becoming interesting in the meta. then of course the 90s was all dark and gritty and everyone wanted a chance to revitalise the accepted picture of batman. after all, everyone remembers a sad story.

then of course, probably the biggest turning point was... jason todd's death. i truly do think it was this event that changed batman as a character, an idea and a story forever. the comics that followed ADiTF were written with this young ghost perpetually in the background, bruce's grief heavy in the pages whether or not jason was explicitly mentioned — so the stories had to be, in turn, dark and mournful.

my favourite costume is blue and grey with yellow symbol batman suit, especially by the artists neal adams and norm breyfogle :) bruce looks so good in this style and the blue reminds me of such wonderful stories. it might seem like a weird detail, but the other than the satisfying cape dynamics, i love the way they draw his legs and boots for this costume!!

if i was a writer i would sink my claws into stephanie brown and never let go. EVER. the role she could have in gotham as a vigilante closely tied with a community would be literally fantastic for her character and backstory. if i could, i think i would write her leaning towards the Huntress route compared to the Batman route, but still keeping her ties to cass, tim and babs (and bruce, i say tentatively). i would also bring back her adorable relationship with damian IMMEDIATELY!!!

and last but not least, the most underrated character of all time ever, JACE FOX. my batman. i love him. i have literally fantasised someone with a darker and less 'deserving' backstory, growing as a person, reforming and learning from their mistakes to become batman AND HE DID. HE DID THAT. no matter what people say, i think jace fox is a character who encompasses everything you need to be batman, including all the flaws that come with that mantle. one day i hope we get to see cass and jace bond and grow, reforming a duo ready to succeed bruce.

THANK YOU FOR ASKING THIS WAS SO MUCH FUN TO SHARE !!!!

[chaifootsteps]

my thing with httyd3 is that i saw a interview with the writers where they said that they wanted to use a similar ending to the books for the trilogy, ignoring the fact that the only thing that the books and the movies had in common at that point were some names and some similar-ish characters and settings, in the book we knew the dragons were sentient, that they had their own language that most vikings just didn't learn how to speak, Toothless was this tiny little dragon that shared the job and attitude of a jack russell terrier, Fishlegs was a skinny kid with asthma and anxiety, Astrid didnt even exist instead we had Camacazi the dragons didnt all leave in the end just because of one guy, they left slowly overtime knowing that most people wouldn't be as kind as Hiccup and his kingdom of peace would fade someday after his death, there was a whole war about this for fucks sake, something that was brewing since book 8 the ending made sense for the story they were part of, not for the completely different story that only really shared a title

Exactly. The dragons in the book also don't vanish into a hole in the ocean; their destination is everywhere, hiding in trees and rocks and nature. Not all of them leave, some stick around to live out their lives with their humans, and it's acknowledged that to force them to leave would be cruel. Hiccup in the book spends his entire life fighting for a better world for everyone, and in the end, passes the task on down to the reader and invites them to look closely, and all around them they'll see dragons.

It was a beautiful ending, and if the movies had ended the same way, I wouldn't have an ounce of complaint.

[coldgoldlazarus]

Echoes and Hunters are really interesting to me because of their place relative to the rest of the series, as basically the closest thing to being self-contained Filler Episodes in Samus's life. It can be argued the Prime games as a whole are a filler arc, what with how you really don't need to play the Trilogy to understand the 2D games' ongoing narrative. Even so, it is still a whole arc within itself; despite being decent standalone titles, the phazon connection spanning all three enriches them in conjunction with one-another, and Corruption in particular leans a lot on the setup the first two provide.

Yet at the same time, while definitely connected to the other two, Echoes is distinctly the odd one out in a lot of ways, and the overarching phazon storyline seems almost incidental at times despite Dark Samus and the background setup of the conflict. It's not confirmed either way, but the dark world could be read as a pocket universe created by the leviathan seed malfunctioning, or a whole parallel dimension that it simply broke through into and created the copy of Aether within. Even if it is the latter, the Ing were probably a byproduct of the interaction of Phazon and the dark dimension, but there is also the possibility the were a distinct entity existing beforehand. Regardless of all of that, the Luminoth and Aether as a location certainly stand out as unique, and are only loosely connected to the bigger picture through a shared history with the Chozo.

Hunters, meanwhile, may wind up tying into Prime 4 through Sylux, but that too is extremely incidental to the main story focus, which is even more outright disconnected from the usual Metroid factions and concepts than even Echoes is. As people have joked about before, it really says something that killing Gorea, a terrible eldritch abomination that singlehandedly wiped out an entire galactic-region-spanning civilization, is probably one of the least important things Samus has done in her career. Even that aside, apart from Sylux and Weavel, most of the other hunters are similarly unique and disconnected from the established story, with Trace and the Kriken Empire in particular standing out as an elephant in the room that are weirdly less relevant than the info on them would imply.

And I love the overarching storyline, both of the Prime games and the series as a whole, and how the different mainline titles are for the most part thematically enriched by their interconnectivity and parallels. (Even Proteus Ridley, for all the problems I have with him, I do appreciate as a clear bridge between Corruption and Super.) But there is also something really fascinating to these two more avant-garde titles, that really expand the universe and try new things, instead of remaining confined to the core concepts the series usually keeps a tight focus on.

There is a risk of going too far and possibly losing sight of the aesthetic/thematic shore, so to speak, but I feel like we're not quite there yet, and I appreciate the effort to branch out. On the flipside, there is again some weirdness to some of this stuff being so confined instead of having a bigger impact, (looking at you Trace) but the level of tightness of the mainline games does kinda work in our favor here. Sure it's weird, but it's not out of the realm of plausibility that the Kriken really are a big deal, but just... elsewhere, and mostly haven't directly relevant to Samus's life outside of this one-off run-in with Trace.

Idk, I'm not really going anywhere in particular with this, I just think it's neat.

[streets-in-paradise]

Why were Achilles and Briseis written the way they were?

The following meta is a contextual analysis of the movie, not necesarily a ship defense post.

In this opportunity i am going to present my personal interpretation on a few factors that I believe can help explain what remains to this day the most controversial point of the film: the romance of Achilles and Briseis. Keeping it short and simple, my arguments here will be mostly linked to the conventionalities of the film genre and the specific time period in which the movie was created.

In this case, not to simply shrug shoulders and confortably claim " those were other times" and dismiss the problematic aspect, but to list a few sensical reasons I find behind the choice regardless of how potentially problematic it was.

The purpose of this analysis is understanding the movie in context, not changing anybody's mind in what comes to the moral sanction in its reception. The reader's approbal or dissaprobal of the film doesn't affect it, because the intention is to merely provide a contextualized explanation.

That being said, let's begin:

-The historical/epic films that served as inspiration for Troy often include a precise formula that the pairing emulates in a synthetical way.

As pointed out before, the list of epic films inspiring Troy (2004) is endless. From subtle references in the scenery and costume design to direct copy in the use of tropes or character archetypes, this movie is like a summary of the whole genre. However, the particular historical context in its release made three particular titles the core influencies of the film.

These are Gladiator, Braveheart and the Lord of the Rings trilogy. Listing every single aspect in which Troy nurtured trying to replicate their success is worthy of an entire different meta, but here I will take one precise element to examinate.

In all cases, there is a warrior lead hero and a woman of nobility that find themselves tangled in political intrigue/war and have (or have had) some form of forbbiden love. Both Lucilla and Isabella find themselves contextually in between the movie's hero and villian, walking the thin lines of negociation while wishing for the insane emperor/asshole king's demise.

In Gladiator it's mostly a political alliance with a mere romantic undertone that comes from the fact that they had a past together, while in Braveheart the meeting through political matters is a gateway for romance. In contrast, Arwen's conflict comes from having to choose between her family and Aragorn in the middle of a war that has her kind leaving Middle Earth.

The Briseis of Troy is like an abreviated and more simplified synthesis for all of these. Outside conflict begins as soon as she is in the middle of Achilles and Agamemnon, the fighter-hero and ruler-villian that she equally challenges through their argument scene. Later, her inner conflict comes from having to choose between her family in Troy and her growing feelings for Achilles.

So subtle, yet so powerfull, the influence is so evident that we can even see a gender reverse of the Evenstar necklace moment.

The seashell necklace is a gift of his mother, who is rumoured to be a goddess. It's purpose on this scene is slightly similar yet very different as in lotr. Achilles is giving to Briseis a gift of possibly godly origins that represents him as he tries to compensate her for the pain that his vengeance has caused her. It's also an act of love, the last one they can share because he is allowing her to choose her family and leave to be with them.

This simple example ilustrates too well how far the similarities went in the strange mashup of formulas.

At the same time, one can point out that the principal deviation Troy took was having Briseis as the only woman arround. In both Gladiator and Braveheart a dead wife haunts the narrative and motivates the hero to seek revenge against the cruel ruler. In the case of lotr, the side love interest is the one that the context encourages in contrast to the one forbidden for the hero. The men of Rohan already respect Aragorn and Theoden shows himself supportive of a possible union between him and the obviously infatuated Eowyn.

Instead of a hero that oscilates between two women, the dead wife and the princess or the adequated love vs the impossible one, Troy presents the enemies to lovers dynamic product of Briseis' war captive status making her conflcted feelings oscilate through the story.

-The Sheik meets Titanic: iconic romances and sex symbols.

The casting of Brad Pitt in the role of Achilles was definitely an influence for the tone the romance adquired. If I had to describe the Achilles x Briseis romance without listing the influences I mentioned before, I would say " it's a bit like The Sheik with a Titanic ending" and I feel this is not entirely casual.

( Most evident paralel that can be made is that the Josh Groban song " Remember" feels pretty much like reverse" My Heart Will Go On". James Horner worked on both films, so maybe that played a part in this particular aspect but I am merely speculating.)

Valentino and Di Caprio were iconic in their romance performances, they made history in their roles, and both shared with Pitt the fame of being actors super popular with female audiences. I can't blame Troy for wanting to evoke a bit of that magic when the man doing the job is Brad Pitt. Back in the day, people used to popularly claim he was the most handsome guy in the world. His name is a synonym of male beauty.

I feel his Achilles does a good job balancing two contradictory goals the movie has for him: being the embodiment of an epic hero and seducing the audience through the romance scenes. In this point I want to add that the basic structure on the dynamic for the abduction romance is very similar to the one in The Sheik: civilized and outspoken lady that represents modern viewpoints gets kidnapped by a seductive man of savage ways. In a good kidnapper/bad kidnapper game with the antagonist, she discovers that she has fallen in love. In Troy it works as a sort of reactualization for this basic premise adquiring a different flavor when mixed with other elements of the film.

And here is when the most iconic moment makes so much sense:

This was the one part of the movie that made history. Not only the quote is beautifull, here is also where you get the distinctive flavor that is also a byproduct of the general themes in the film permeating the romance. Achilles proves himself to her above the mere act of rescuing her from someone worse.

While this is the response of Briseis.

She keeps challenging him because she was made aware that he can do better. Sure, she later sleeps with him anyways because that's almost an ineludible part of the charm in that scenario. In both cases, it is used as a sort of indulgent fantasy for the eyes of a (straight) fem audience expected to go crazy for the actor. Unlike in the 1920's, by the time troy came out spicy scenes are already a standard and I can distinctively point out those tend to be particularly prevalent on media about ancient greece and rome.

For tumblr censorship reasons I won't show a picture for the following claim, but the scene itself doesn't expose her as much as him. It's all focused on the beauty of Brad Pitt, in his seductive ways and how the girl slowly gives in to him. His naked body covers her from the camera, all we see its a glimpse of her legs and stomach as the lense follows the way of his hands undressing her. It's the same dangerous seduction feeling that turns the strong woman defenseless applied in an film age where you can show it on a love making scene.

Despite sticking to the basics, that oldass concept adquires a more unique modern feeling.

-For Plot Reasons: they work as a parallel with Helen x Paris.

From the beggining of the film, forbbiden love is the big topic of the film when it comes to romance. I know I have written in previous analysis that Achilles and Paris, through their selfish and romantic driven choices, become a parallel of each other. Helen, the willing runaway, and Briseis, the captive, are also made a parallel.

However, I want to go back a second on the specific way the behavior of Achilles directly mimics Paris triggering the war: he seduces the girl, sleeps with her, and decides he is ready to abandon his countrymen for her. While Odysseus tries to convince him out the rational way, the recriminations of Patroclus evoke the angry Hector who had just discovered the spartan queen in his ship. Fighting the war due to the reckless choices of their relatives, they die. At the end Achilles and Paris are on their own.

The trojan prince leaves Helen behind to fight and, when he gets the chance, avenge his brother, while the greek warrior is there for only love and remorse. Dreams of glory are behind him, he got inside the trojan horse seeking to rescue the woman of his affections.

It's a fascinating role reversal where, motivation-wise, Paris becomes Achilles and Achilles becomes Paris. This conclussion comes as evolution of the romances written parallelistically as side plots of the big family tragedy.

[blues-valentine]

the Alina debate going on reminds me of the Katniss debate even years later. there’s people that in this date and age think Gale was a better choice …..some people hate to see girls that went through imaginable levels of trauma find themselves a calm and quiet life with a man that brings them safety and peace.

These two cases are pretty similar and with THG renaissance on social media lately the discussions about this subject are getting wildly inaccurate and lacking media literacy.

Alina and Katniss are similar in how they were just kids that had to grow up in a mess up world and take care of themselves alone. They both were thrown into a role way bigger than them. Deemed as holy and untouchable. Prayed as the sole savior of a nation, painted as a symbol. A role they’ve never felt prepared for and during all of that trauma and grief they just hoped for some normalcy beyond that chaos. Mal and Peeta represent comfort and security for each of them but still the choice to seek that peace creates controversy. I saw this amazing post (X) about how thinking Gale and Katniss should’ve ended up together is simply incorrect and a terrible interpretation of what the books and movies are telling you and similarly goes with Alina’s ending being sadly misunderstood.

People don’t get that Gale became everything he was fighting against. The thing Katniss was trying to run from. In his search to destroy the Capitol and eradicate the games he became too blinded by hatred and started justifying all that violence with the idea of revenge. He would easily switch off his humanity to justify the means in which he achieved those goals. He would’ve never been able to provide Katniss with the peace, safety and the healing she was searching. Peeta and Katniss both understood the trauma lived in the games and ultimately wanted the same thing: peace, get a hold to their humanity, move on from the pain. I still cannot comprended how people think Peeta is “boring” because he is by far one of the most complex characters but also, doesn’t Katniss deserve a mundane or “boring” life? One that isn’t pledge by chaos and trials? One that feels like a routine in the most full-filling way? Katniss getting that plus allowing herself to have kids — because she never said she didn’t want kids, she just didn’t want them to exist in a world in which the games existed, and she fought so it won’t ever happen again. Katniss deserves to have a peaceful life instead of feeling the burden of a role she has to play.

THG is still one of the most complex trilogies I’ve ever read. Katniss and Peeta’s love story isn’t typical but it’s true in its essence. Both were thrown into circumstances that only them would be able to understand and managed to find peace within each other. Their love was born from being able to give each other mutual understanding and comfort. Katniss is able to share her real feelings with Peeta, who sees her as Katniss and not as the symbol of rebellion. That guy, a kid himself too, who’s been used as a weapon to torment Katniss would give his life for her in a heart beat. His love for her is pure.

For Alina, her powers while they made her feel powerful at times, they were also a burden. They made her feel lost, confused, scared of herself and suicidal. Alina’s powers didn’t develop normally because she wasn’t raised as a normal Grisha. There’s a reason why the amplifiers are called a fetter and a collar. They were never meant to be seem as a positive thing. Alina’s whole journey has been filled with trauma and with the imposition of a role she had to play that went against her own freedom. Her powers made her a pawn. The title of the savior, the sun summoner, the queen, the Saint; those all were titles she did not ask for and she found a tremendous burden to perform. She said it herself multiple times. She felt like a fraud and people worshipping her made her feel like she was bigger than herself. Alina would’ve never been able to achieve her peace if she still had those powers and therefore would’ve never been truly free. I’m sorry, no one will ever convince me that Alina making the choice to remove herself from a world that has brought her so much trauma in exchange for a peaceful, mundane life in which she’s able to provide orphan kids just like her the love and security she didn’t get for herself (or for Mal) is not empowering. Her choice IS empowerment.

Mal, who was also a kid himself, had to deal with trauma, with the idea of being disposable and insignificant in a world that only valued those with powers or status. He was used as a weapon against Alina so he swears himself to be a weapon for Alina, because ultimately she is the only person he’ll fight and give his life for.

A thing that it’s similar to Katniss and Alina is that people are so convinced they should’ve healed from their trauma alone to be deemed more empowering. Why should they not be in the company of someone that brings them peace? Someone that makes them feel loved and comforted? Women are allowed to have character developed while also being with a love interest. Not all women have to stick to Hollywood’s propaganda of empowerment.

If you don’t understand why Alina and Katniss endings and the fundamental nature of their choices being about healing, and for Alina about the promise that her power lies in herself, on her own value, then you simply didn’t get it.

And no one can convince me this wasn’t a good, bittersweet but fulfilling ending for Alina:

[eosofspades]

no bc you’re SO right that kai is WAY weaker as a villain than tai lung or shen (shen especially, bc imo he’s the best villain of the trilogy) and i’d love to hear your thoughts on why <3

100% agree shen is my FAVORITE villain of the trilogy and possibly one of my favorite villains of all time. and tai lung is an incredibly close second! however, i really didn't care for kai.

the biggest thing about kai for me is that, as a villain, he is way weaker than the other two because he is extremely lacking in a personal connection to po, and also much weaker when considering how his character reflects the themes and narrative of the movie as a whole.

tai lung, as a villain, worked so well because he was obsessed with the concept of being the dragon warrior, and the supposed "power" that would come with that. the lesson of kfp1, though, was that there WAS no real magical power given by the scroll - there is no secret ingredient! it's just you! it was never about the scroll; it was about choosing to be good and do good for the sake of being good, not because you wanted power for it. tai lung couldn't accept this, which is why he made a fantastic villain for this one, thematically. (and ALSO a fantastic foil to po, who is so humble and doesn't NEED power, he's just passionate about kung fu and wants to have a good time with his friends.)

lord shen as a villain who reflects the themes of the story, though, takes this to the absolute HIGHEST level. the entire story of kfp2 pivots around po's struggle to reconcile his origins with who he is now, and both of those things are directly related to shen - he leads the massacre that ends up getting po sent away, which sets him on the journey to BECOME the dragon warrior, and po's destiny was always going to be to defeat him. both then and now, the course of po's life is being shaped by shen. shen is also a fantastic foil to po in the same way that tai lung was - shen cannot let go of the past, he clings to his anger and his fear; while po is able to accept what happened, accept that it is part of who he is but not what defines him, and is able to find healing and peace.

kai, by comparison........ has almost nothing to do with po. kai actually has NO personal connection to po! his evil scheme is related to the pandas, but absolutely nothing to do with po, specifically. tai lung had no shared past with po the way lord shen did, but he still had personal and specific reasons to hate po because po was getting the title and role that he so desperately wanted. but kai's only beef is with oogway! he didn't even seem to know that po existed until oogway says "it was never my destiny to stop you - i have set another on that path." and kai just says "then i will find him, and take his chi as well." his motives are also much weaker than the other two's - who both wanted power, yes, but tai lung was also deeply desperate to make shifu proud, to live up to the legend that he had been raised to believe he would become, and part of this was shifu's fault! that's extremely interesting and tragic!! and shen was motivated by fear - fear of his prophecized defeat, of the inescapability of his fate - and by grief over his (perceived) inability to make his parents proud, or get them to love him. kai, by contrast, was..... mad that oogway wasn't okay with letting him become a magical chi-stealing warlord??

kai also doesn't tie in with the themes or po's arc in this movie. in terms of other characters, po's arc in this one revolves way more around his fathers - trying to handle his new responsibilities of being the teacher to the five, trying to figure out how to balance the two different identities he has as the son of these two different fathers, but the only connection he has to kai is that he needs to be a master of chi to defeat him, which he can only learn how to be from the pandas, which incidentally happen to be his family. (and the fact that at the end, everyone is doing chi makes it seem like him being a panda or not might not have even been that relevant to begin with!) and kai's defeat is also sort of weak - he's defeated by the "too much power" trope, but nothing else in this story was about being power-hungry or the dangers of it. it wasn't something any of the pandas struggled with, hunger for power was NEVER a part of po's journey, and at least in kfp1 tai lung's desire for the dragon scroll was about more than just power (he wanted to make shifu proud), but also, because the entire theme of that story was that you didn't NEED power to be the dragon warrior. kfp3's narrative isn't ABOUT power; it's about identity and culture and balancing different aspects of your life to find your truest self. kai's character has nothing to say about ANY of this, he doesn't struggle with or care about any of these things - he is JUST power-hungry.

he also lacks that character foil aspect the other two had. the ability to take chi is never even presented as an option to po. what MIGHT have been interesting would have been if the only way to defeat kai was to take HIS chi - something a master of it would be able to do! - and po was forced into the dilemma of having to choose between risking going down the same path as kai for the sake of protecting his loved ones, or the risk of endangering them even more by refusing to. if the conflict had been about the good vs evil uses of chi powers, then that would have made kai a foil to po as well. but as it is now, kai has nothing to do with po, personally.

basically what it boils down to is that kai, as a villain, is serviceable, but when held up in contrast to the previous two, it becomes very obvious how much weaker he is narratively. his motivations are much shallower than the others', his connection to po is tangential at best, and as an antagonist, he doesn't have anything to say about the themes or messaging of the story OR the protagonist's arc.

[shrekgogurt]

Well folks. I’m on my substitute teaching grind again this week! Scheduled each day up in hopes of getting some good writing done. I did on Monday! And then proceeded to finally start reading @ninemagicks Game/Set/Match yesterday and did that every bell so uhhhhhh. Today………..well ummmmm…..yeah today I worked on chapter graphics because I’m in big procrastination mode. I want to keep riding this wave of engagement (that sounds corporate gross) but I’m also very much in my head about delivering. I should probably channel this energy into writing the chapter since such pressure is Baz’s literal arc but uhhhhhhhh why do that when I could Simon avoid. I love being mentally well!

One might say I need to find my own bravado. (more under the cut)

lol the chapter title for 13 is bravado by lorde

ok anyway

“Work In Progress Wednesday” right? That means I can talk about the progress of every part of the process? Huh? Yeah? Are you gonna stop me? TRY! TRY TO STOP ME!

Aggression aside, let’s get into it.

As previously stated on Sunday, we find ourselves at intermission. But that’s just the theatrical way of slicing up the story. The fun thing about 24 chapters (I got rid of my originally planned intermission chapter because I didn’t want to write it anymore) is that math really loves the number 24. It’s scrumptious. Yummily divisible. Ergo, IKABIKAM also has/is/will be deliciously divided. Afterall, I do keep saying I’m cooking on it.

Now, to put @alexalexinii on blast (sorry for perceiving you), they wrote in the tags of a Chapter 12 reblog: #made me realise that this fic had proper arcs? And I grinned. I cackled. I rubbed my grubby little hands together at the top of my tower as I’ve been doing this whole time because oh ARCS???????? YOU WANT ARCS???????????? I’VE GOT ARCS LYING IN WAIT LIKE YOU WOULDN’T BELIEVE. (I love overselling myself.)

Allow me to let you in on some of the building blocks thus far.

Chapters 1, 2, 3: a complicated reunion which is shaky but ultimately sets up

Chapters 4, 5, 6: developing the friendship which is a crucial foundation for

Chapters 7, 8, 9: the gay (Baz’s increasingly more external “hi i’m gay”, Simon’s internal “oh wait me too”) which then explodes into

Chapters 10, 11, 12: all that political parent stuff that’s been hinted at in passing which is BIG relevant and incredibly intertwined in this tangled up mess that leads into the work of….

You get it. They’re mini trilogies. Don’t ask me about dividing the chapters into groups of four because I didn’t have that in mind while writing. I like threes better. Always have. Absolute banger of a prime number.

If you for some reason want to read more about the structure, I write a little more about it in this wipsday from when I was procrastinating 9.

Now, @cutestkilla keeps telling me I’m at the downward slope now but honestly delivering on what I’ve set up scares the shit out of me WAY more than the grunt work. I’m uhhhhh yeah. This is why I’m chronically unable to finish projects but by GOD I will finish this one. I swear by it.

So here are three sentences. You get to guess from who and when.

Loving him comes as naturally as breathing. It’s intuitive when I’m not thinking. Or rather, when I’m not panicking.

If you want to follow along with all the songs I’m hyperfixating on as inspiration I’ve been sharing them over on the “shrogurt” instagram. There’s nothing I love more than talking way too much about this damn fic. Thanks for reading!

And thank you for the tags today: @nausikaaa @facewithoutheart @hushed-chorus @artsyunderstudy @prettygoododds @emeryhall

Now tagging: @brilla-brilla-estrellita @captain-aralias @dani-vc @ebbpettier @excalisbury @facewithoutheart @fatalfangirl @hagnoart @iamamythologicalcreature @ileadacharmedlife @imagineacoolusername @ivelovedhimthroughworse @j-nipper-95 @larkral @letraspal @martsonmars @messofthejess @moodandmist @mooncello @nightimedreamersworld @onepintobean @palimpsessed @raenestee @rimeswithpurple @theearlgreymage @theimpossibledemon @thewholelemon @valeffelees @whogaveyoupermission @youarenevertooold @you-remind-me-of-the-babe

[mushygreybrainmatter]

Women of Ace Attorney, pt. 1

So, there are a lot of women in Ace Attorney. And there is so much to say about all of them. The biggest chunk of women connected to each other, though, is the Fey Clan. There are five named characters who you actively interact with who have the last name “Fey,” and a few more who share ancestry with the Feys, even if they don’t have the same name or prestige. Moreover, the Fey Clan is notoriously exclusionary to men. Whether or not this is intentional, I don’t recall if that’s made clear, but either way, men don’t typically stick around, and the village is an isolated matriarchal community. This makes the Fey women particularly good subjects for this kind of analysis.

!! SPOILERS FOR THE PHOENIX WRIGHT TRILOGY BELOW THE CUT !!

I’ll be completely honest, I think if I had to choose one character who exemplifies the trauma of being a woman, a mother, a sister, and a daughter better than anyone else in the franchise, I have to choose Morgan Fey. There is a lot we can speculate about her character, but first, I’m going to list a few things we know from canon:

Morgan was the eldest and was, therefore, meant to become the Master of Kurain.

Morgan stepped up to lead Kurain Village in her sister’s absence.

Morgan raised Mia and Maya after Misty disappeared.

Morgan believed her daughter, Pearl, deserved to be the Master because of her abilities.

Morgan has had other children before Pearl (namely Dahlia and Iris Hawthorne).

There are obviously more facts than this, but these are the key points I’ll refer back to.

When we meet Pearl, she is eight (8) years old. Already, Morgan knows that her spiritual powers surpass Maya’s. By this metric, we can assume that Morgan knew Misty was the stronger of the two of them for a very long time. Before this point, every Master had been the eldest daughter, who traditionally held more spiritual power. Thus, this led to Morgan being scorned and looked down upon by the other inhabitants of Kurain Village.

Ever since Morgan was a child, she was told just how much of a failure she was and how she would amount to nothing. Her birthright was stripped from her, and she had it rubbed in her face time and time again.

I think we can agree that this is fucked up and would absolutely ruin some of our self-esteems were we in Morgan’s shoes. However, through all of this, Morgan works diligently to restore her family line to their (at least in her eyes) rightful place as the Main Family. She marries, has twin daughters, realizes neither of them have enough spiritual power to beat out Mia and Maya, divorces, and sends her daughters away (this is a segue into a later post I will make about Dahlia because she is interesting as hell).

Even more than that, after Misty disappears following the DL-6 Incident, Morgan takes the reins in Kurain Village and raises Mia and Maya. We can see from the way Morgan interacts with Pearl that she is strict. We also get this sense from the way Maya reacts when Morgan is brought up in conversation during Reunion, and Turnabout (2-2). A recurring motif in the Ace Attorney games is the idea of being the best or being perfect, whatever that means to any given character, and Morgan is no exception to this. The expectations she places on both Maya and Pearl are evident, and it takes a fairly obvious toll on both of them.

So, we have a woman who has been beaten down for decades, since she was a child, who was stripped of her rightful place in the family and cast aside. She climbs anyway, she raises the entire next generation of Fey women, and they revere her. She works in the shadows to better her own lineage, because she doesn’t want her daughter, Pearl, an incredibly talented medium, to be relegated to a Branch Family when her rightful place is the title of Master.

Morgan sends away her daughters who lack spiritual abilities. Why? Maybe because for Morgan’s whole life, she’s been taught that power is everything. Without spiritual powers, a Fey woman is worth less than dirt. At least, that’s the lesson Morgan took away from everything. So, she strives to put her family back on top, where they belong, and she seeks to destroy everything that stands in her way. In some ways, everything Morgan does is for Pearl.

In some ways, Morgan is a fierce protector, a mother bear. Morgan is a woman who was taught the only way to survive was to use her teeth. So she does.

[pridepages]

Give and Take: A Power Unbound

I finished A Power Unbound by Freya Marske. I have thoughts...

Here there be spoilers

What do we know about love?

No, seriously, I'm asking. The more stories I hear--both real and fictional--the less sure I am that we have any idea what it is we're talking about.

Because love may be patient and kind...

But it also might be dirty degrading sex and someone to argue you into submission.

Meet Jack Alston and Alan Ross: the last couple in the found family of disaster gays trying to save the magical world in Freya Marske's The Last Binding trilogy. The third volume, A Power Unbound, centers the love story of Jack and Alan amidst the final confrontation that will decide the fate of the magical world.

(I actually find the magic and politics the least interesting thing about these books, so let's stick to kinky sex and power dynamics.)

At a surface level reading, Jack and Alan are an opposites-attract trope. Jack was born to power and privilege in every sense, titled and magical, while Alan scrambles to survive in a world where he literally repels power (both figurative and literal). Rather than fall into the temptation of a beauty-and-the-beast narrative or a cinderella story, Marske has the two of them lean into their inequality.

They get off on power struggle.

These two have the kinkiest role-play I've seen in traditional publishing. Full credit to Marske for writing a romance that says: "You can have all the deviant sex you want between safe, sane, consenting adults." (A radical notion when we're reluctant to increase the perception of gay sex as 'deviant,' but seriously, fuck respectability politics!)

But the mastery of character development here is how the push-pull of their chemistry translates outside of the bedroom.

When we first meet Jack Alston in book one, he's cast in a more villainous light. He's nasty and hurtful to his ex, Edwin Courcey. It would be easy to write Jack off as simply cruel, but from his perspective, the whole dynamic translates differently.

Jack is a "mean friend." His love language is to tease, to bait, to skirmish. He grew up jabbing his way through life, all knees and elbows. But every time he tried to draw Edwin out...he only ended up pushing him away.

It couldn't be more different with fiesty Alan. "They fit in ways they shouldn’t ever have fit. Even when they fought, they fit–there was no mockery falling on soft, malleable ground…Only the knowledge that any volley would be met and thrown back, brighter and better."

Jack and Edwin were fundamentally wrong for each other, their chemistry toxic. By contrast, Alan understands the love language of insults and banter. He's strong enough to take it.

But strength and weakness are their own sort of power, and both Jack and Alan are keenly aware of it. During one of their intimate scenes, Jack cuts the moment short because he realizes they are not in a moment of mutual pleasure. "When I fuck, it's because it's what I want. Not because I'm punishing someone, or too angry to be safe." Nor will he let Alan turn their intimacy into self-harm, refusing to be "used...as a rod to make stripes on your own back."

It's a critical piece of self-awareness. Jack knows he has a responsibility to use his power with the utmost control to create mutual pleasure and do no harm.

If Jack's journey is one of learning how to share power, then Alan's arc is about learning how to accept it. "Size and strength, station and wealth. All the advantages possible," Alan marvels as he looks at Jack. "Do you know how hard it is to believe someone won’t use it against you? To put your heart into someone’s hands knowing that?"

Alan may like to play at being overpowered, but that play is a consensual illusion: he knows that at any time he can voice the safeword and end the game. When it comes to sex, he can maintain control. But you can't safeword out of falling in love with someone. "Alan had never needed to lean on anyone. It was intolerable that he now kept turning out the pockets of his soul and finding caught in their seams the desire to let someone take his weight. The desire to be held, even kissed."

It's safer to lock yourself up: to stay in control by keeping the rest of the world out. But you can't have love without putting your innermost self on the line, making yourself as vulnerable as possible.

To take of someone else, you have to give everything of yourself.

I don't think it's a binary switch. The ways and means of how we create a give-and-take change depending on the people involved. Some people need soft and gentle love. Some need bright and sunny love. And some people need to be "kissed like an argument. Alan slid his hand to the nape of Jack’s neck and argued fiercely back."

All of them are good. Because all of them have the power to give and take what we need...and what we want.

Jack can be "masterful in the bedroom" and "take your heart between my ribs and guard it like my own." Alan can be a fighter and submissive, can hold his own and still want Jack to "kiss me until you know me, and unmake me, and love me anyway."

I don't know anything about love. But I think these guys just might.

When it comes to love, you'd better give as good as you get.

[the-down-upside-finch]

WIP List (Tag Game!)

Thank you for the tag, @anyablackwood!

RULES: post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPs.

...I don't think you understand what you are asking me to do.

*drags out my folder labeled "WIPs," where each of my stories have their own folders because I have to be organized* So, we have, in an order that descends into the "unnamed" docs: (The * means that this is a big folder with even more stuff inside of it)

Potentially Kinetic (webcomic)* - PK S1 by Chapter - PK S2 by Chapter - Idea Blurbs - Timeline

Stained Integrity (webcomic)* - (1) Stained Integrity (Revision Doc 2) - (2) Stained Integrity - [insert title]

Pentad of Un (novel)

Minding Q's (novel)

Secrets of a Gon (novel series)* - (1) Secrets of a Gon - (2) Secrets of a Gon: Fairling - (3) Secrets of a Gon: Witchery - (4) Secrets of a Gon: Krow

The New Magicians (novel series)* - (1) The Lucky Ring That Brought Bad Luck (The New Magicians) - (2) The Wooden Stick From the Wizard's Castle (The New Magicians) - (3) The Jeweled Heart From the Mage’s Dungeon (The New Magicians) - (4) The Ruby Crown That Shapeshifted When Worn (The New Magicians) - (5) The Glass Box Which Held an Unseen Curse (The New Magicians) - (6) The Feathered Mask That Could See Darkness (The New Magicians) - (7) The Hiltless Sword That Was Held By Shadows (The New Magicians) - (8) The Blue Cloak Worn to Cover a Curse (The New Magicians) - (9) The Spotted Egg From the Dragon Caverns - (10) The Bottle of Dust Stolen From Thieves' Bazaar - (11) The Ghostly Ship That Sank With the Sun - (12) The Arcane Ingredients Needed to Brew a Potion (The New Magicians) - (13) The Shell-Made Throne at the Bottom of the Sea - (14) The Gon Blood of the Last Descendants

Parallel Shadows (novel series)* - (1) Parallel Shadows (Revision Ver.) - (2) Light of the Railing (Parallel Shadows) - (3) Burning in Degrees (Parallel Shadows) - (4) Perpendicular Grid (Parallel Shadows) - (5) Crossed Between Axes (Parallel Shadows) - (6) Divisual of Angles (Parallel Shadows)

Wager and Cursed (novel trilogy)* - (1) Betting on Mushrooms - (2) Flying for High Stakes (Wager and Cursed) - (3) Always Bet on Blackmail (Wager and Cursed)

Shakedown (stream-of-consciousness experiment)

When It Showers

Link & Pin* - (1) Link & Pin — (The Quill & The Feather) - (2) Link & Pin — (Murder of Crows) - (3) Link & Pin — (Blue Overcast)

The Final Straw

A Stanger Comes to Town

Navigating Peril With a Compass and a God

150 Million Tonnes

Lies Von Iash

Shards of Midnight

Something in Retaw

The Neitherling & Champion

Beachcombers

Deck Them All

The Hotel With the Glass Elevator (previously titled "GGD Crew")

Half-Hour Identity

Head Space

Twisted, Entwined

Out Phazed

Non-Stop ∞

My Life is a Comedy (and I am a Side Character)

Two-Faced Flip

(post-apocalyptical world where you can kill someone for like a house)

(the necromancer/holy knight thing)

(Where the knight gets stuck protecting the practitioner)

(Attempt to write mystery)

(that one story idea)

(Untitled WIP, Walled-In Town)

A prince that can turn into a dragon visits a kingdom where he is supposed to marry the princess and he turns into a dragon to share his secret but someone sees him so they have to make up a whole situation where the princess is captured by the dragon and

Like 82957 short stories that I'm not going to list here because. there are literally so many of them.

Y'all. That's like 35 WIPs in my stupid WIP folder, not counting the individual stories within each series. THERE'S NO WAY I FOLLOW KNOW MANY WRITEBLRS BUT I'M NOT ABOUT TO BACK DOWN FROM A CHALLENGE So I'm (gently) tagging: @my-cursed-prince, @athenswrites, @amaiguri, @k-v-briarwood, @the-grim-and-sanguine, @planets-and-prose, @owlsandwich, @card-queen, @zestymimblo, @lordcatwich, @wordswrittenbynight, @worldsfromhoney, @ahordeofwasps, @autumnalwalker, @nettleandthorne, @bassguitarinablackt-shirt, @gwenthekween, @harleyacoincidence, @dancinginsepia, @fire-but-ashes-too, @aziz-reads, @serendipminiewrites, @maskedemerald, @da-na-hae, and literally whoever else wants to do this because. Yeah. Open tag.

(I realize after typing all of that that the game is probably just supposed to refer to only one specific WIP but you know what. I already typed all of that so I'm just going to live with it. Have fun y'all.)

[poisindonottouch]

Queer reads: K.J. Charles

As we leave fantasy, I bring you the last category of my recommendations: smutty smutty smut. 

Okay, these are romance novels, but in my reading of romance novels, I’ve discovered that I thoroughly enjoy the spicier end of the spectrum. The smuttier the better. 

So, for day 22, I bring you my favorite romance author KJ Charles. 

I’m putting this under a cut, because it’s going to be long. 

KJ Charles has written loads of books, but I’ve narrowed it down to my favorite 9. 

I’ll take these by series. 

First off, I give you the Will Darling Adventures. These books take place in 1920s London (and surrounding environs.) They are post WWI. Will Darling served in the war, came home to no one, and ended up inheriting a book shop. He’s gruff, manly, and really a giant cinnamon roll. Kim did not serve in the war (it’s a whole thing), and he’s anything but a manly cinnamon roll. He’s sharp and devious and manipulative. And of course, they fall in loooove. This trilogy follows the same pairing over three books, and it’s nice to see how KJC handles the deepening of their relationship from HFN to HEA. (That’s happily for now & happily ever after.) 

The next two books, Proper English and Think of England, are actually in the same world as the Will Darling books, and you’ll see a cameo or two in the later trilogy. Proper English, set in 1902, tells the story of Pat and Fen meeting at a house party that involves a murder mystery and some sexy times. After all, if a murderer is on the loose, you can’t sleep alone, right? Think of England, set in 1904, tells the story of Archie and Daniel, at a different house party. Archie is there to investigate some shady business, but he’s a straightforward kind of man, and he is woefully out of his depth. Luckily, Daniel is there. 

Any Old Diamonds and An Unnatural Vice are set in the same world, about 20 years apart. They aren’t the only books in their series, but they are my favorite of each. Any Old Diamonds follows Alec and Jerry as Alec hires Jerry to steal some jewels. There’s a great twist to this one, and I love Alec and Jerry. I want more of them. An Unnatural Vice is book two of the Sins of the City trilogy, but Justin Lazarus is the very best character ever, and Nathaniel is good for him. I recommend the all the books in both series, but these two are my favorite in the bunches. 

Band Sinister is a stand alone novel, telling the story of Phillip and Guy, who have some bad history between their families, but unforeseen circumstances bring them together, and chemistry does the rest. I would love to read a book series about every side character in this book, but alas. I’ll keep reading fanfic instead. 

Which brings us to The Secret Lives of Country Gentlemen, the most recent book out by KJC. It’s the first of a duology, and I’m super excited for the next one to come out in September. It’s marked on my calendar in my kitchen. This is a dual pov book switching between Garath, who recently inherited his late fathers title, home, and secrets, and Joss, the boss of the local smuggler family. This is a lovers to enemies to lovers book, and I love it. Really, one of KJCs best. 

(Ack! I missed Spectered Isle, which is also fantastic. I really enjoy the relationship in this one, and I’d happily read a bunch of books set in this world, but alas, I think this series is over. Spectered Isle follows after The Casebooks of Simon Feximal (also good. Think smutty, magical Sherlock Holmes.) Like the Will Darling books, Spectered Isle takes place post the Great War, and everyone in the novel is scarred from it. It’s not a shared universe though, because this one has magic, and the Will Darling books are not fantasy, but similar time frame.)

[restinslices]

I tend to add random lore no one asked for to series I like, so here’s me doing it for Shadow and Bone. Specifically for Shadow Summoners. Also for this, let’s pretend Aleksander was a real strategist and slept with someone before he died so his line could go on.

So when Baghra gets these powers, we know her dad is frightened by her. Shadow Summoners were supposed to happen and their presence could be seen as a curse. So a known quote or title they get is “a curse made real”.

I think it’d be very interesting if this had side effects. I know their powers are one, but I’m thinking more than that. Hear me out for a quick second. Shadows and the color black are often linked with evil and mystery, so what if this also tampered with their brain? There’s a part of your brain that tells you what’s right from wrong, but what if a side effect is that they have difficulty with this? It’s as if shadow covers their brain and something someone would consider wrong, isn’t that bad in their head, especially if it’s for a greater goal.

Adding onto that, I think it’d be interesting if this family kinda had the Targaryen reputation of “going mad”. I’ve never seen GOT or HOTD but the line that’s like “half the Targaryens went mad didn’t they? What’s the saying? Everytime a Targaryen is born, the gods flip a coin and the world holds its breath” could also fit this family. Kirigan could be seen as “gone mad” while Baghra isn’t. Baghra has a sister and other kids (according to google) but we never see them in the main trilogy and idk if they’re seen in other books in the series. As their line goes on, some of them going mad could be a consistent thing.

A cool power they could have when given an amplifier is the ability to make people do terrible things. You know how I said their brains are kinda fucked and it’s like a shadow is over their brain? They have the power to cast that shadow over other peoples brains and push them to do fucked up shit. Whether it be the darker thoughts that particular person has, or whatever that Shadow Summoner wills them to do. This could only be broken by a Sun Summoner’s interference

Do y’all know the line in Fear Street when Sarah Fier curses the Goodes and says that everytime they hurt someone, they’ll feel the grip of her hand and she’ll never let them go? If you don’t, that fine. Just keep following-

Kirigan feels like he was wronged in the end. In his head, everything he did was ok because it was for a bigger goal. So, he made an oath/vow/curse/however you wanna look at it, of his own. Everytime someone in his family line is wronged, they will feel the grip of his hand guiding them to get revenge. They’ll feel his hands on their shoulders, hear him whispering in their ear, and feel their rage rise until they get revenge. And their version of revenge is very bloody.

Imagine it for a second. Alina stabbing him and as he’s dying, he makes this vow. Alina is confused because she has no knowledge of any other Shadow Summoners being alive. Since she’ll more than likely live for hundreds of years, she eventually finds out that he had a lot more tricks up his sleeve.

Shadow Summoners adapt to war fast

Shadow Summoners are rare. They’re a submissive gene and it tends to skip generations

Shadow Summoners are obviously not allowed to get together because they share an ancestor, but it’s also because that whole shadow over the brain thing gets worse if two of them have a baby. The kid is guaranteed to be a Shadow Summoner, but they’re also 99% guaranteed to go mad

Shadow Summoners are still feared. Everyone is worried about them following in Kirigan’s footsteps. They’re so scared, that they made a separate area for them in the Little Palace (once they were finally allowed in) because everyone felt tense around them

Them controlling peoples shadows and traveling by merging with their own shadow? Let’s discuss

I feel like I have more but this is all I remember now. I think we as a community should start making up more lore for this universe because it’s fun. Especially for the rare types of Grisha like Sun and Shadow Summoners.