#at the same time the issues comes from the source material itself so. fuck!

[goldammerchen]

(ah, fuck it. won't be coherent tho)

i often wonder how many people got a military uniforms kink because of hetalia? (not, maid uniforms, etc)

i like boots and gloves and, whether i liked it or not, maybe is partially because of helltalia... but the whole ass actual uniforms? or the sexualised ones? might find some of them pretty but ugh fuck the institutions, not sexy--in that case i prefer them changed enough to remove the connection to the irl origin. suits can be better imo. or even better, leather.

seems hima (with his vaguely hidden author's kink lmao) is kind of doing his own modified version of parade dress uniforms so thats better i guess (I GUESS)

...buried somewhere in my blog i talk that prussia's nendo uniform is from japa/n-prus/sia treaty era, so late 19th century. proper for a country that doesn't exist anymore, and i makes me very glad that gil and lud uniforms used in merchandising nowadays aren't the first 2 ones anymore, you know which ones. i thought they were we.hr ones but turns out they were waf.fen which, even if the we.hr myth is a fucking lie (they also commited atrocities), it makes it worse.

anyway, just as i wish iron crosses weren't used in fanart (at least in modern era art, the hell are doing those there), i wish that nv.a uniforms (gd.r) were used with gil if people must despict second half of the xx century uniforms lol, it looks so fucking similar but it is not na.zi... i will blame hetalia for this bc fans are too young to get that type of fetichism in some other way that isn't something like generational trauma (thinking in my secret garden: women’s sexual fantasies for example)... tho not impossible, of course.

still, *why* hetaIia :sob:. source and fandom (mostly) moved away from that (unsensitive to start there ahhhh), pls don't in heta...

[fortheturnstiles]

hi kiki <3 of all my mutuals I think your opinion on a complete unknown is the one I care most about…so 🎤….?

OKAY here goes . [also thank you this ask made me smile.. you wanna hear from little ol me ? :o) hehe]

the gist is i didn't like it but i didn't really expect to like it very much so i don't really feel let down by it necessarily. I'm already really picky when it comes to biopics and i only tend to like the stuff that's either really outrageous (i.e. Ken Russell's Lizstomania, All that Jazz if that counts) or formally unconventional (i.e. I'm Not There) and the rest of the stuff that gets churned out of the major hollywood studios is a complete turn-off for me. I watched Walk the Line for the first time a few weeks ago because i thought hey why not see where this guy is coming from. and maybe being a fan of Walk Hard: The Dewey Cox Story prior to ever seeing Walk the Line ruined it from me but it was maybe the corniest movie ever made, or at least could possibly make about johnny cash. which theoretically should be difficult. but not for mr james mangold. Beyond the general cheesiness of the whole thing i was left wanting a lot more about how Johnny Cash fit into a larger musical scene / moment that he was apart of and the history of country music coming out of nashville in tandem with rock n roll which was just not what that movie was going for at all unfortunately.

NOTE: SOME VAGUE SPOILERS FOR THE MOVIE AHEAD IF YOU CARE ABOUT THAT SORT OF THING. medium length ramble incoming. if you want to read some slightly more concise thoughts from me on the movie here is the review i posted on letterboxd

All this is to say is i was going in with EXTREMELY LOW expectations. Other than I thought the performances would probably be really solid and they indeed were!!! Timmy was great i think he did an incredible job and his physicality and all of his mannerisms were very evocative and embodied as Bob. His voice was also pretty good and i like how his speaking voice became more unintelligible as the movie went on that made me smile. his mannerisms also changed and shifted as time went on throughout the movie which was a good choice imo since he starts out so young and malleable and then gets more jaded and hardened as becoming Famous often does to a guy. The musical performances were also better than I expected them to be but I have mixed feelings about them still.. i don't like that they chop a lot of the verses out of the songs to make them shorter. Within the movie itself the beats for a lot of the song sequences feel exactly the same and it got old very quickly, aside from the song to woody + hard rain's a-gonna fall + i'll keep it with mine scenes which i wholeheartedly enjoyed.

my main issue is i just think it makes absolutely zero sense to make such a bland and artistically unadventurous biopic about BOB FUCKING DYLAN. And i know that the timeline it takes place over is based on the book that was used as the source material but i think it ends right before stuff actually got interesting for him in terms of his turn away from acoustic folk music. and all that stuff is documented in Dont Look Back + No Direction Home so what reason do i have to watch this new movie then? i guess to see timmybob flirt with and kiss and proceed to fumble beautiful women ... most of the Strong negative feelings i have about this movie are due to the extremely flat characterizations of both sylvie(suze) and joan. I think both of their roles as creative and political/philosophical influences on Bob are minimized to the point of nearly nothingness. Sylvie does a bit of whipping bobby into shape and encouraging him to release an album of his original music but her political influence on him and his songwriting is understated or mostly to completely omitted. which bums me out. Bob and Joan's relationship is dramatized in a very strange way with them making it seem like they would have these Moments of Passion and randomly on and off just hooked up with each other and were also in the scene performing around and with each other etc but like. omits anything about bob and the baez family knowing each other . which maybe is a purposeful choice i guess maybe they didn't want to be involved but idk the whole thing makes the bob/joan relationship strung very thin and not very Involved when they certainly were Involved. to a degree. whatever i guess i dunno i think there is maybe an interesting movie that could be in there but wowwww was it just such a beat-for-beat rehash of Walk the line and all subsequent musician's-rise-to-fame biopics. and surprisingly very safe and not artistically or intellectually challenging piece of work for a man who was so famously strange and controversial and difficult to figure out that they make the climax of the movie about it. and it just goes by like a cloud of smoke . perhaps i have too much bias for the work of Todd Haynes but I truly just think I'm Not There is such a great movie about Bob Dylan the artist and the symbol/icon that there doesn't need to be anything else. and the documentary filmmaking about Bob Dylan the artist/symbol/icon as well as the Man (as much as he allowed it to be) that already exists is great. i feel so Old Man Yells at Cloud over how useless this movie is for me. I do hope that it works for some people, especially people who are new to Bob. If this can be a gateway to dylan for them that's beautiful and I am happy. but it didn't work for me

[gutfaced]

primarily sapphic but if i put all of my favs in a room it would unfortunately be. a feature. featuring the creatures (men.) and not just like, conventionally attractive men. no. old fucking men ranging from 30-50. that guy from [that media] has disgustingly awful hair, wrinkles and is like. on the cusp of middle age if not past? struggling with addiction? extremely fucked up and traumatized? give him to me now. i didn't place that fucking brick it put itself there. now there's like a house.

ob-fucking serve.

guy with addiction, in his early 40s. he's a loser he gets on my nerves. i like and enjoy him. he's so messed up. not a father.

guy with addiction, in his 30s. i like both versions of him even though the movie is ass if you're comparing it to source material. this is jack from the 1997 series, which is more book accurate. book jack has so much going on. but he's lovely until he gets literally possessed. and even then when he breaks free for the small moments in time he decides to sacrifice himself. well placed brick. he WAS a father. he tried to be as good as he could be despite his upbringing and temper. rip john "jack" daniel torrance

we all know i hate movie haymitch. fuck you white mitch. here's some beautiful art from user @/dippy-ecks on here instead of that pasty fuck we like to pretend is haymitch abernathy. THIS is him. guy in his early 40s with addiction. this is who the blog commemorates. the brick's been placed for five years or so. this is the foundation. this is my babygirl. my primary sweet cheese. he's the pillar, even. i am deeply in love with him but i also need him as miserable as. he probably stinks. his house is grotty. in every universe i would still desire him carnally and observe him like a bug under a microscope just to crush him with the weight of living. he's a bitch, he's dismissive, he's protective, he's snarky, he's the guy that stepped up who doesn't even have a solid staircase to stand on, and was the ONLY adult in the series to do his job. he's my wife and he's my throw pillow. next.

GUY in his 40-50s, addiction. lost his son. hates androids until he doesn't. for the cause. fatherly to the max.

i don't know how old heisenberg is. immortal thanks to the cadou except for when he fucking dies. no addiction but you can see where it's going. not a father because he wanted to use a baby as a weapon.

you think being an old man lover is going "teehee he's my babygirl"? NO. YES it is but it's also somehow, being picked up by the scruff of the neck by these absolute losers, who have problems i could never comprehend and yet do as someone with a fascination with psychology and high empathy, and being told " yeah. this is your fav now. have fun explaining that to people. have fun pulling up a considerably fucked up looking guy when it comes to fictional crushes." and that's not all. this isn't even the full list. THIS is daddy issues manifest. there are 2 potential father figures on this first half. AND THEY ALL LOOK THE SAME.

part 2

[frankenwolf1564]

NewAge Mimic: Mini, but mighty

Spawned from NewAge's "fuck it we ball" approach to repaints and a complete lack of any toy, ever, H60W Mimic comes in to hopefully fill a tiny hole in your heart.

Introduced in Transformers Animated, Wasp was first seen as a dark doppelganger to that shows Bumblebee, before going on to gain several sets of additional legs. With the official toy getting canceled and going completely unreleased, the slightly-less-creepy-but-similarly-insane Wasp never saw a release in plastic form, unlike Waspinator, and this is something that NewAge has attempted to amend. With a reuse of their Windcharger mold to better capture the slightly slimmer feel of the on-screen Animated design. they've brought this G1-esque re-imagining to life in sleek, fierce fashion.

Now, you may be asking yourself: Why didn't they just use Bumblebee? To that I say: Fuck if I know dude. For a slightly more genuine answer, he's a bit fat. G1 Bee is much more stout and round than his Animated counterpart, with whom Wasp shares a body. It doesn't quite fit the, frankly, much edgier persona his green cousin carries. A Windcharger redeco leaves a much slimmer build while still staying comfortably in minibot territory. Besides, you can't argue with how good the vehicle mode looks. This is one of the many freedoms granted by releases such as this. There's no source material to adhere to. Wasp was, obviously, never in G1, so the character doesn't have to stay a Bumblebee recolor. NewAge was free to make him whatever they wanted, and his lush paint job speaks for itself as to how well that worked.

The transformation is a fun, clever time that neatly packs everything away and doesn't waste any space. My only complaints are the lack of tabs in his legs in robot mode, the fact that there's no where to store the stinger, not that weapon storage was ever one of NewAge's focuses, and that pulling the arms out when going to robot mode can be a bit annoying thanks to his size. There simply isn't enough toy to get a solid grasp.

Articulation is solid and sturdy, with enough to leave him plenty expressive and appropriately menacing without being a pain to pose at this scale, which we'll get to in just a second... His head and shoulders are on ball joints, giving them plenty of freedom (though those shoulders can pop off a bit easily), and his arms are hinged for nearly 90° forwards and back. He's equipped with an ab crunch, and moving further down he's got a full 360° waist swivel, thanks to the transformation. His knees are a bit strange, sitting just above the set of hinges that form his shins, which, again, don't tab together. His feet are big enough that he doesn't have too much trouble standing, but his heels also could've been just a bit longer. Mimic is able to achieve a wide range of dynamic poses, further amplified by his single stinger accessory.

Now, for those that don't know, Legends scale is, in short, a shrunken down version of the TF cast, based around the old Legends size class from Generations and comparable to the modern day Core class. Much more manageable for some collectors, but far too pricey for what you're getting for others. So, when you combine a miniature scale with a minibot... you get mini^2. Mimic is Micromaster sized.

Now, this isn't inherently a bad thing. Not by any means. I find him quite fun to hold, and save for one or two things that are just a bit too small for my fingers, NewAge kept him fairly easy to manage. Does this mean I wouldn't also want him a bit bigger? Also no. If he were the same size as Legacy United Bumblebee, I would be a very happy woman. Would fix my few gripes with him. But alas, he is not.

Overall, Mimic is a well designed, well produced take on Wasp, but his biggest weakness is tied to the entire basis of the company that made him. The only other issue with this set is that, well, it's a set. Mimic is sold as part of a two pack with H60B Nightcralwer, or, if you so prefer, Shattered Glass Windcharger. It's a fine deco with a lush finish, but... I don't want him. It's another rather unfortunate result of the legends scaling. Probably. They're so small they have to make two of them at a time. Maybe. I don't work for them idk- Their Bumblebee and Cliffjumper molds were sold the same way, with this sets original release being Windcharger and Tailgate. Those guys had a buddy, so Wasp had to have a buddy. Unfortunately, I don't think you're allowed to have roommates in the Stockade.

[96percentdone]

I've been ruminating on fandom lately. Criticizing fandom at all will get you barraged by very defensive fans who will accuse you of hating fun, not understanding creative expression, and being an art snob, and I am about to go a LOT harder than most of the posts I've been exposed to, so in an attempt to preemptively curb that indignance: I like fandom. I have written fanfics, and theory posts, and meta, and I've reblogged countless fanart. A lot of what I engage with or have made meets the standards I'm about to critique, and I understand completely that for many, fandom is a hobby. People would like to escape from the struggles in their lives. They find comfort in the media they love, so they immerse themselves it. It can be hard to make anything in this capitalist hellscape, so if you've achieved something at all, it's a miracle. I get it. I really do. I'm not an art snob; I think it's fine if things aren't that deep, and they're primarily wish-fulfillment. I have some grievances with the critics too, and they'll come up. This post isn't about you specifically; it's bigger. Fandom content suffers a lack of substance because of superficial engagement with the source material.

Many fandom critical posts on this website bring up shipping culture as the reason everything is samey and uninteresting, often referencing ao3 in specific. I sympathize with these posts, I also find shipping prominence can be fairly tedious when you want to read ANYTHING else, but why is it when complain about fandom, we point the finger at fic? Why do we use shorthands like "he would not fucking say that," and drop ao3 tagging conventions, and mention fanfic websites? Have y'all LOOKED at the fan art you reblog? A lot of it is just posing and kissing. If you wanted to analyze it for any further meaning, I don't think you'd get very far. I am not positioning fanfiction as superior; as everyone points out, a lot of it is repetitive and derivative, but let's not pretend that this is a fanfic exclusive issue. We can take it further out! Look at the absolute state of meta. Most analysis is done in service of promoting a headcanon or a ship if it isn't just a theory wildly speculating an explanation for an unresolved or ambiguous plot point. We're gonna include those guys who make power scaling rankings, filling out the wiki, etc too. They're fans! Everyone agrees those people aren't engaging with the text in a deeper way, but that doesn't make them NOT fans. It is the way their appreciation manifests the clearest! We're all fans; we are doing the same thing in just a different form.

Most of what gets popularized I all these spaces is based on a strictly literal understanding of the work; it's about plot events and how characters relate to it and one another, and the meaning people get out of it—from shipping to theorizing to memes to tierlists—never goes beyond that level. If people don't know how to look for themes, to interpret symbolism and examine the construction of a work to see how it contributes to how the whole is operating to affect them, because their education on how to do it sucked shit, then obviously they won't. But I don't think that's enough to explain the heart of the problem.

Critics will bring up the fandom wash cycle, an analogy for how way fandom will spend more time engaged with itself than the source material, and perpetuate its own tropes and fixations ad nauseum. This is true in any fanspace you can spend your time in, including those "who would win" bros. I hear this, and I think of social media, the place most of fandom lives now. People making original work often talk about how their stuff never gets any attention compared to fandom stuff; the biggest fandoms are sprawling franchises with corporate entities behind them. Social media algorithms promote what is already popular, what will generate the most clicks, so you stay online and make their corporate overlords more money. It is the depth of human experience streamlined into easily digestible chunks.

You're spent because life is hard and the world sucks and the only relief you can find is in the media you love. You don't want to expend a lot of energy today, so you'll consume or create ship centered content, or fan theories, or memes and gifs. You'll wonder who would win in a fight. Even without social media, people feed their own algorithms, because the system is designed to encourage it. Fandom is part of a larger whole.

If fandom will ever be more than what it is, you have to be willing to put in the work to fix it. Criticism won't cut it. As the saying goes, be the change you want to see in the world. Create what you want to see, use what you make to teach what might be lacking, seek out more of the things that look like what you want fandom to be (I assure you it exists), not just what you already know. Fandom is perpetuated by fans. Being a fan doesn't make you predisposed to creating cyclical, watered-down content. Every fan has a rich internal life with a whole host of experiences that should inform both how they make their works and how they read it to begin with, because they're people.

People are far too diverse to be defined by an algorithm; maybe with enough effort, we can write a new one.

[namtanlovesfilm]

omg I saw your post about the jungle and I have to rant because I’m so conflicted! On the one hand it has some of my favs in it and so I want to adore it, but on the other hand the whole thing is just MESSY. And from what I’ve heard of the source material, they’ve stuck to it super closely including dedicating a chapter/episode to each character and I think it’s that (plus the really underwhelming production values) that’s bothering me the most. As far as I’m aware there’s no overarching storyline and so it comes across as a series of short stories set in the same place. I also do recognise though that the actor schedules were also apparently really difficult to work around, and that’s probably affected the series in regards to scenes with the full or most of the cast.

Having said all that, I’ve definitely seen A LOT worse from gmmtv even in recent years and I keep reminding myself that at least it’s messy in a fun, sexy way rather than completely bland (apart from leemook which broke my heart because I was looking forward to seeing them together again). For example if I go by series this year, UMG looked beautiful and was acted well but was horrifically boring, double savage almost tried to market itself as a pseudo bl with perth and ohm and was tedious to get through, I couldn’t get past the first episode of loneliness society and I wasn’t enamoured with 10yt except for view and off. And that’s not me even touching on some of the underwhelming bls.

Also I am trying to keep the faith and have hope because I feel there’s been a drastic improvement from episode 1 to episode 6 and that scene with the twins fighting each other in the parking lot in particular was so good and such an amazing performance from Nanon who apparently worked for 6 hours shooting it and I commend him going so hard for something as unserious as this

okay so first of all I agree with mostly everything you said in this post! I didn't even know the show was adapted from an original material, now the one episode per character makes much more sense! but yeah the lack of overarching material IS an issue, but on top of that the writing is so bad?? from the shows you've mentioned I've only seen 10yt & loneliness society, which I both liked enough & personally I think the writing for these shows is MILES better than for the jungle. I agree that ep 6 was the best episode so far, and it's down to nanon's AMAZING performance & also his great chemistry with mild, but all of that could not cover how SHIT the writing was this ep. nithan is DISAPPOINTED that naannam does a no show to her engagement ceremony EVEN THOUGH she now believes him to be a cheater and a MURDERER??? then he shows up & SHE'S HAPPY???? then the real naannam arrives & professes his love without clearing the air once & telling her the truth AND SHE STILL ACCEPTS TO BE WITH HIM?????? the twins make up OUT OF NOWHERE??? and say they love each other OUT OF NOWHERE???? in fact, I was so confused as to which twin was who until I watched this latest ep, and believe we shouldn't have known of naanfah existence at all until the reveal to punpun's character so WE'D BE SHOCKED TOO!!! yes that would've been a cliche plot twist, but at least there would have BEEN a plot twist! I just cannot, tbh. it's giving the three gentlebros level of writing but with even less screen time & I actually liked t3gb bc it was a silly surface level romcom whereas this does not want to be one but most absolutely is. the dichotomy is killing me I fucking hate it here 😭

xxx

[queenimmadolla]

to be fair, I don’t think anyone said writing about cops in itself is wrong, HOW a character is portrayed in the source material(or written about in fics) matters, Jim Hopper is a good example - he’s the least cop cop out there. He also breaks the law all the damn time. But it’s the sexualization of police and what they do is. Modern day police has its origins in slave patrol, there’s nothing “not deep” about that. As a black person who grew up in a black neighborhood in Brooklyn and have had less than pleasant interactions with police for doing something as simple as standing around, and have family members unfairly in the system, I take issue with this.

Idk about AUs but the topic I’ve seen come up is around Joe Kerry’s upcoming character who I believe is a cop in the south, who’s religous(father is a priest), and comes from a conservative background. We don’t know anything about what he’s like and some black people/poc are rightfully voicing their hesitance around white people being extremely exciting to write about him and sexualize what he does, with a lot of backlash from white writers. I personally don’t feel safe as a black stranger things/Joe Keery fandom member to voice my view on this not on anon bc I see how the white writers have reacted. But It’s completely fair for poc, esp black fandom members, to feel a certain way or hesitation around it and for white people to consider the implications.

Excellent points, but not quite what I was referring to. My statements are directed towards those speaking on behalf of the POC and black people when they are not involved in those communities to frown upon Cop!AUs when the most they know and have been involved with about police brutalization is what they might see on tiktok and hear from individuals not adversely affected by it. Yes, it is correctly a negative connotation to them but to equate fucking some character in a cop car or being seduced by a character turned cop─who has not been written to have brutalized or done anything fucking wrong btw─for an AU to black people being brutalized by cops and POC facing harassment and discrimination by cops in REAL LIFE is not the hill white people want to die on. If this should be the case every single character with a position of authority that they admire should not be so. This is not only ignorant and offensive, it is very damaging white savior behavior. They wreck an area they're not staying in and we'll have to clean up their mess.

As for Gator, I have already said my piece on him. I'm not writing for him (probably won't actually just because I probably won't have motivation) until I watch the show to confirm he's not racist. Once we get confirmation, I'm fine with it. it's the same thing as any other character, until we see them on screen─they all can potentially be racist. It sucks, that's the struggle we face (because I actually was starting to like Billy and felt like i understood him until they revealed that he was racist last minute, that's the shit we're put through) and I think it's stupid because we don't need to be traumatized in fictional shit since it's so often displayed on our tv screens in the form of news reporting on what we face in REAL LIFE, if we're not already going through it ourselves─which, unlucky me, I have and am.

[cedarbranch]

for the fanfic writer ask meme: 2-4, 30-35, 41-50, and 77!

wheee thank u!! this is so many omg (/pos) definitely putting these under a cut lol

2. talk about a notable time a narrative or character has looked you dead in the eyes and said “fuck your plan, here’s what we’re actually doing.”

when DOESN'T this happen honestly... most recently, steve's mom insisted that she MUST make an appearance in my stranger things wip, but the first instance of this happening on a dramatic scale was wayyyyy back when i was writing my frerard ghost au. frank decided to have more significant Issues than i originally intended which ended up with me rewriting half the fic from scratch (which now i do more often than not)

3. on a scale of 1-10 how much do you enjoy incorporating romance into the average story?

hmmm... 9! i love romance :) i love writing Romance As Exploration. figuring out what makes characters tick, then how and why they'd make each Other tick. i do struggle with writing entirely romance-centric stories though, it tends to be one plot thread out of many

4. what is the plot bunny you’ve been carrying for the longest? optional bonus question: do you ever wonder why you haven’t written it yet and experience deep existential dread?

jeeeez... there are SO many ideas i've written and then abandoned... keeping it to ones i actually intend to finish, it's gotta be my pacific rim chance-meeting fic, but part 5 of magnolia 'verse comes as a very close second! i think about it constantly. i know exactly why i haven't written it yet: it's partially because... i HAVE written part of it (i rewrote the same 20k of the intro 5 fucking times), and also because after those 5 times i lost the hyperfixation and have been caught up in other fandoms ever since. still Thinking About It though.

30. most inspirational quote you’ve ever read or heard that’s still important to you.

i'm not gonna hunt down the exact quote, but there's a post floating around here disparaging the idea of going to an art museum and saying "i could do that!" in an insulting way because yeah - you could! the only difference between the artist in the museum and you is the fact that they Did and you Didn't. that concept was big for me. it's a great reminder that nothing i do has to be perfect, i just have to make it Exist. the first step to being a writer is words on the page

31. tell us about one of your characters who’s an absolute joy to write?

oh that's so tough, i have so many i love writing!! in terms of who makes me giggle and kick my feet the most, though, gotta be eddie in my stranger things wip or newt geiszler. love me a character who is an Annoying Little Shit On Purpose

32. do characters influence your writing style?

i would say less characters and more the source material itself. i'm someone who likes to match character/narrative voices as closely as possible, so the way i write dialogue obviously reflects that and changes from fandom to fandom. it's not always super noticeable, but i think it shows the most when i'm writing pacific rim or hannibal. (writing hannibal fic is its own beast, that's the only one that's really changed my entire approach to writing and not just dialogue)

33. do you start with the characters or the plot when writing?

they inform one another so closely it's hard to separate them! i guess the first inklings of plot are where it begins, and then the characters generate what the rest of it looks like.

34. how do you name characters and places?

most of the time i don't have to bc i'm primarily writing fic ❤️ but on those rare occasions when i'm writing original fiction, it's purely based on vibes.

35. tell us about a character who’s very different than you who you love a whole lot

literally any character i'm invested in. i'm always most compelled by characters who are very much unlike me, especially the bitter angry types. right now it's will graham :3 i love RIGHTEOUS RAGE yay yippeee!!!

41. what is the weirdest story idea you’ve ever had.

hmmm. quite possibly the crack fic i wrote for tma where jon is confronted with the horrors of homestuck. (IN MY DEFENSE: WAS NOT ACTUALLY MY IDEA, WAS WRITTEN AT A FRIEND'S REQUEST, but i did make it exist).

42. describe the aesthetic of a story in 5 words.

ough this is Hard. i can give a bad 5-word summary of a fic, but its aesthetic? let me give it a shot for the hannigram wip: bloody knuckles, sick with yearning

43. how did writing change you?

got me a girlfriend :)

serious answer: i am always thinking about craft when interacting with any kind of written art. i deconstruct, i nitpick, i analyze. sometimes it's criticizing bad writing from a place of love (as with stranger things), sometimes i'm frustrated by what could've been done much better (THE MAGICIANS!!), sometimes i'm just in awe of the skill of the creators (succession, hannibal).

44. any writing advice you want to share?

for fic writers: don't stop reading actual books!!

45. name three of your favorite fanfic writers.

three is too few!! i'll just say i'm currently rockin with emungere and zipegs, and always w my gf @stoplightglow :)

46. what time are you the most productive when it comes to writing?

hmmm. late evening, maybe?

47. what story are you most proud of?

in terms of completed works, moth to light. for my entire body of work including what's yet unfinished, my hannigram wip! (it'll have a title... eventually)

48. do you reread your own stories?

oh absolutely. partially just because it's fun, but mostly as a learning exercise! it's helpful to get some distance from a fic and then go back and see how reading it feels compared to how writing it felt. gives me a sense of whether my intentions came across how i meant them to in the end. also lets me identify some of the flaws i'd like to work on!

49. do you want to be published some day?

i don't really know! i used to want to be a novelist once i'd "gotten good enough" by practicing with fic, but i've since realized that fic and original fiction are very different skill sets and i'm just not as interested in writing original work. i do have a few short pieces that i'd like to finish one day and i hope they'd be publishable but it's sooo intimidating to have a partner who actually is a successfully published author and get a firsthand look at how much rejection and persistence it involves :'D i think i'd like to give it a shot when i'm ready, whenever that is. maybe for poetry too!

50. do you plan or do you write whatever comes to your mind?

i plan obsessively. my planning documents are pages and pages of outlining, character notes, snippets of scenes i want to write, etc. but to be fair the actual act of writing once i sit down to it is whatever springs to my mind, the story often takes off and guides itself into deeper levels of nuance from there

77. how do you write kissing scenes?

ummm. they're kinda formulaic in my work tbh which is smth i want to change... i do think my kiss scenes are improving as the rest of my writing improves, though! there's one in the hannigram wip i'm pretty fond of. will kisses hannibal and then punches him in the face ❤️ for the second time that evening

[kingdomoftyto]

Okay, the promised self-reblog with the optional spoilers. Seriously, if you're already an AA fan and plan on watching the musical, I recommend you go experience it yourself before reading this, for the full effect. Last chance~!

With that out of the way, the only real change from the original plot comes in about a half-hour into Act 2:

My partner and I both YELLED, "WHAT!?" at the same time Maya did.

Absolute GENIUS move. It can't be overstated how clever this is.

Hammond is such a forgettable character to begin with that I frequently had to remind myself of his name even while playing the case, let alone after finishing the game. (I only know it now because I've been so rabidly immersed in the fandom in the months since finishing the trilogy lol.) To remove him from the equation--and thus reduce the number of characters the audience has to keep track of--is already a no-brainer.

But then to specifically fill his role with Grossberg? It links the Redd White case more concretely to what's happening in Act 2, it gives FAR more weight to his guilt surrounding DL-6, and it actually grants Grossberg something his canon counterpart never had: a full story arc, with a bit of emotional depth.

How--HOW--did they make me feel genuine emotions about Marvin Freaking Grossberg?

The final speech he gives--or rather, his diary entry--is such a nice, poignant end for his character, albeit a little sad, of course. It ties so many threads together with a neat little bow on top.

Instead of simply vanishing off into cowardly obscurity like Grossberg does in the games, this version gets a chance to at least try and redeem himself--to apologize for his mistakes--even if he ultimately failed.

I love it.

Forget Hammond. This is canon now.

--

Oh, and the second thing I was going to gush about? The thing that was different enough that I didn't want to spoil it for people?

Eh, it was nothing big.

It's just WRIGHTWORTH HAPPY ENDING HOLY SHIT:

[An embrace of some sort may be shared here.]

Gay people real....

Anyway yeah. It's lovely and tender and we were both yelling and crying about it.

The script is deliberately ambiguous about their relationship.

The line delivery by Ren and Gav is very deliberately unambiguous.

These men are in love, and they are going to change the world together.

The entire musical leaves no room for doubt how much Phoenix cares for Miles--in the same way that the source material itself doesn't--but the combination of the acting choices throughout the entire thing (see: the aforementioned agony in Phoenix's voice in "Alone", as just one example) and this quiet little moment right near the end of the play, it's extremely clear that in THIS production, at least, their feelings are both romantic and reciprocated, and it's just... very very soft and good.

This is the one thing that I alluded to before as the change that I wouldn't accept as superseding canon, but only because I prefer canon's slow burn of Miles finding his new path in life and the two of them slowly orbiting each other for a few years until they're in a better place to be together. If Wrightworth were to ever be canon, I'd ideally want it to be SOME point after the trilogy so they've both had time to figure out their issues, lol. There's a reason their slow burn is so legendary.

HOWEVER. Considering this musical is a standalone story? Fuck YES, the correct narrative choice is OBVIOUSLY for these two dorks to fall into each other's arms at the victory celebration and not a minute later.

This single hug may not be canon but it WILL live rent-free in my brain until the end of time.

It's taken 15 years, but it was worth the wait...

All right, I've put it off long enough (and had a very busy/distracting couple of weeks) so it's finally time for my review of TAAAM Act 2

For those who missed it, the second half of Turnabout: an Ace Attorney Musical dropped at the end of last month [here's a link to Act 1 for good measure], and to say I've been listening to it a lot since then would be a gross understatement. My partner and I have literally been greeting each other after work each day with, "Today's biggest earworm was [insert TAAAM song], how about you?" Even if I listen to any other music on my morning commute, by lunchtime I'll inevitably still catch myself mouthing the words to "Lotta Things" or "Tomorrow at Last" or whatever else.

What I'm getting at is that this is not just a cool piece of collaborative fanart. This is a legitimately fantastic musical. Period.

The music is wildly catchy, but remains cohesive with every other song. There are repeated leitmotifs and about a dozen reprises and incredibly satisfying references to music from the games (I was waiting for "Cornered" the entire time and was NOT disappointed when it finally showed up late in Act 2). It feels well-structured, like a real Broadway production. All of the songs from Act 1 that I would have considered the weakest--they now stand fully redeemed by their absolutely phenomenal reprises and callbacks in the second half. Every song in this musical, every line, is there for a reason.

And this careful planning serves to accentuate the stated primary goal of the entire musical: maintaining the character-driven narrative of the games and emphasizing the pathos of the story. On both counts, this team absolutely delivered.

Because not only is this a really cool musical, it's also a fantastic piece of collaborative Ace Attorney fanart. (See what I did there?) I know I already said it in my Act 1 post, but these folks understand these characters and what makes the story so memorable even 20 years later. The emotional beats, the character growth, the relationships between them all, are impeccable. Every character gets their time to shine, and in particular I want to praise their handling of Maya and Gumshoe, who feel like fully realized people and each go through their own personal arcs throughout the course of the story that are just as satisfying and heartwarming as Phoenix's own.

And that's a good segue into the subject of what creative liberties the team DID take with the story, because there honestly aren't that many, but what they did change is so good. I replayed Turnabout Goodbyes a few nights ago and was surprised at how much dialogue in the musical is taken line-for-line, sometimes even verbatim, from the source material. But, aside from the changes you might expect from condensing an entire mystery game's worth of story into a few hours of runtime--such as simplifying the cases to require fewer clues to solve--they really only altered the plot in ways that gave more chances to develop the characters, and to create rewarding arcs for each and every one.

They added a whole damn scene of just Gumshoe and Maya having a heart-to-heart. It is easily one of my favorite scenes in the entire play. These writers drank their respecting-Dick-Gumshoe juice that morning, and that single scene gives a better emotional payoff to his loyalty to Miles than I think we ever got in canon, while remaining utterly in-character for everyone involved. Meanwhile, the scene doubles as one of many stepping stones* for Maya's own character arc (which is also much more focused and consistent than in canon, imo!), in which she struggles with her feelings of helplessness and inadequacy as she tries to live up to Mia's legacy.

(It goes without saying that this scene also serves the practical purpose of getting characters in place to further simplify the details of the case, as mentioned before, because the writing is unparalleled and I will keep emphasizing that as many times as it needs to be said.)

In truth, there are only two things I would qualify as "major" changes to the story (in that they're different from canon, not that they actually change the plot itself), and I'm hesitant to spoil them here because both of them are SO good and both of them hit me like a truck when they happened. One has to do with emotional depth getting added to a certain character's arc, and the other has to do with relationships between characters. (Maybe I'll add them as a self-reblog to this post because I still need to scream about them lol.)

In any case, I'm not kidding when I say that the musical's version of events, big changes and small, is so compelling to me that it has now superseded the canon version in my mind.** It manages to tell the exact same story while not only giving some of the "side" characters much more credit, but also tying the cases themselves together into a single narrative. The specter of Redd White and his chokehold on the justice system is present in the back half of the original game, but the musical tweaks things to really make you feel how all of these pieces fit together to direct the characters' actions and growth. It's just... ugh, so brilliant. [chef kiss]

I would be remiss if I didn't also take a moment to directly praise the performance of the actors. As obsessed as I am with the music itself, my single favorite moments in both Acts are actually short lines of spoken dialogue.*** The delivery just struck a chord in me and I still lose it a little every time I hear those parts. (And other parts, but. Shush.) Everyone did a great job, but the three leads (Ren, MJ, and Gavaroc, who played Phoenix, Maya, and Miles respectively) absolutely knocked it out of the park in both their sung and spoken performances. Is it weird to say I'm obsessed with how convincing the screams are in "600,000 Volts"? It is, a little? Okay, well. [cough] Regardless. The whole cast really knew what they were doing throughout this entire production; the emotion is extremely powerful when the moment calls for it**** and they elevate the dialogue--again, a lot of which is taken DIRECTLY from canon!--from something good to something amazing. The delivery of these lines has literally changed how I look at the first game, now. They're that good.

Quick shout-out to some of the other voices that have invaded my brain and instantly become my headcanon voices for the characters. Just off the top of my head: Larry, Payne, Sahwit, Redd, Grossberg, Lotta, Lana... seriously. This cast is absolutely star-studded. Even the ensemble freakin' killed it, absolutely transforming every song they were in. The soprano that hit that high note at the end of "Justice for All (Reprise)"????? MAGNIFICENT. GOOSEBUMPS EVERY TIME.

Good grief, this is already so long and I still have so much more I could say. This is why it's taken me so long to write all this out, by the way. This musical is transcendently good, both from a musical perspective and a fandom one, and I simply have not stopped rotating it around in my head since I first heard it.

It's NOT without flaws. Of course it's not. The sound quality on a handful of spoken lines is noticeably lower. The word choices in a few verses feel just slightly clumsy, or forced to fit the meter. The visuals for the Youtube release are a little goofy at times because of the limitations of the game assets used. The plot of the second act, even simplified, would probably be a little too dense to easily follow for someone unfamiliar with the source material.

But if there's anything to be learned from Ace Attorney, it's that perfection shouldn't be the most important goal. Sometimes a few rough edges are necessary to allow room for truth. And the truth is, in this case, a story. A story about a lawyer named Phoenix Wright, who loses a mentor, gains a best friend, and saves a man who'd lost himself.

It's a story worth hearing, and what better way than in song?

--

*- For the record, my favorite song in Act 1 was "I'll Be There", so among all the MANY times the end of Act 2 punched me directly in the heart, the moment that hits me the hardest is probably still the part of the finale that reprises it. That last stanza (I hope you know I'm glad we met...) makes me want to cry every single time. Maya Fey Protection Squad, indeed.....

**- Except for ONE thing at the very end, but that's a story for the self-reblog where I scream about the spoilery stuff LOL

***- My fav line in Act 1 is Miles' real-time epiphany that Redd White is a murderer. ("The only people in that office at that time were the victim and the- ...killer.") You can HEAR his eyes widen as he falters, and the choice to have that as his turning point in place of Turnabout Samurai is so brilliant in so many ways I can't even handle it. I love Miles Edgeworth so much. Anyway, THEN, my fav line in Act 2 is Phoenix's heartrendingly soft, "I've got you, Edgeworth. I've got you." It's so tender and yet so sure. It's Phoenix catching Miles as he falls, looking him directly in the eye, and telling him it's over, I won't let you suffer for one more day.

****- Another of my many favorite lines is Phoenix's "Did you DO it!?" underneath Miles' singing in "Alone". The desperation. The ANGUISH. During my replay of Turnabout Goodbyes I literally had to stop and take a second when the button prompt labeled "Did you do it?" popped up on my screen. That hurted.

[irrelevantwriter]

White Flag

Pairing: Rio (Good Girls) x Female Reader/You

Rating: Explicit, NSFW

Warnings: Language, public sex, unprotected vaginal sex, mention of bodily fluids, slightly vulnerable Rio, declaration of feelings (sorta?)

Word Count: 4.3K

Summary: Part 5. Two months without seeing or speaking to Rio has left a significant mark and feelings finally decide to show themselves. Kinda.

A/N: I hope everyone had a good holiday or at least a chill Friday. I come bearing gifts with the next part of our favorite toxic saga. More smut for my lovely readers. But first, some plot. We jump right into it and just like our favorite non-couple, we gloss over a lot of bullshit and get right to the filth. But as a Virgo I love communication so I have to make these two stubborn assholes talk about their issues a little. At least in a vague way. Also, Rio has his read receipts on bc he is a petty king. There’s one more part after this and it's all naughty fun from here. I hope you guys like it. Feedback is that good shit. 💗

A/N dos: I’m thinking about making the next part strictly from Rio’s POV. I feel like it’ll give us a peek into what he’s thinking and a new take on the series thus far. I’m excited to explore that so let me know what you guys think!

*Read Part 1 here

*Read Part 2 here

*Read Part 3 here

*Read Part 4 here

*Read Part 6 here

*Give and Take series masterlist

*Masterlist in bio.

*********************

“So you’re just gonna eye fuck the hot stranger at the bar all night?”

Your friend’s teasing cut through the haze, jolting you back to the dimly lit bar. The music boomed around you while people drank and danced, enjoying the Saturday night out in the same way you and your girlfriends were.

“I was not.” You insisted, though the coy smile you wore said otherwise.

The group of women scoffed and rolled their eyes, seeing right through your faux innocence.

“Besides,” You started, taking a sip of your drink as the song changed into a bass heavy melody. “He’s not even my type.”

“Oh, bullshit!” Kara interjected with a raised brow, shaking her head.

You opened your mouth in surprise, but bit back your response when the other women chimed in.

“She’s right.” Evelyn agreed, throwing her dark hair over one shoulder.

“We knew you in high school and college, remember?” Nikki threw in, pursing her lips knowingly in your direction.

“Okay, so?” You said with a poor attempt at nonchalance.

“You were all over guys like that when we were kids. Paul ended up being the black sheep of the bunch.” Kara reminded you with a laugh, Evelyn and Nikki joining in with their own drunken giggles.

“Yeah, we were convinced you’d marry a felon with tattoos and not a real estate broker who wore khakis.” Nikki quipped, causing another round of laughter and snorts.

“Okay, okay...I get it. So I had a type. I think I’ve grown out of it.” You cut in, sounding as if you were trying to convince them as much as yourself.

“Not if the hottie at the bar has anything to say about it.” Evelyn joked with a wink.

You shook your head as you took another sip of your drink, unwilling to let them see you flustered. Or that they were in fact correct. You definitely still had a thing for bad boys...bad men to be more specific.

The evening had been going smoothly so far. It was a rare girl’s night out. An event that happened only once every five years when kids were shuttled off to babysitters or their fathers, and the women were able to enjoy an adult meal with adult beverages. Schedules between four busy women didn’t often align so when they did, you all jumped at the chance to indulge in the nightlife you’d left behind in your younger years.

You’d been the one to suggest the bar. It was a swanky, sophisticated space with an air of youth. The perfect mix for your outing. You’d been here only one other time.

With Rio.

Thinking of the man made heat pool low in your stomach, despite your lingering frustrations. It’d been two months since that shit show of a night at your house. You hadn’t seen or spoken to him since. After that debacle, you blocked his number. As childish as it may have been, you were angry. Still were. And rightfully so. He’d been a complete dick. He’d chosen the most inopportune moment to make adjustments to your arrangement. He’d been careless in his deliverance, harsh even. The entire exchange had you questioning everything. And instead of analyzing the situation and communicating like adults, you’d decided to stop all interactions with him. You’d wanted to send a message. Just as he had with you.

After the argument, you’d been an anxious mess in the days leading up to the next drop. But it was all for nothing because Rio wasn’t there. And neither was the new contact he’d told you about. Instead, Mick was waiting for you and offering up no other information. And it’d been that way for two long months.

In the days since, your mind wandered to Rio often. Your body lingered on his phantom presence constantly. You replayed the conversation you’d had a million times over and each time it made deep fury spill over and mix with the lust still raging like white water rapids through your veins. You missed his touch. Missed his desire for you. Missed the way he made you feel, so supremely sexual and wanton. All things you’d been lacking in your marriage. And now they were suddenly hitting you square in the face and begging you to pay attention. Begging you to not lose the source of your sudden awakening.

You missed the toxicity of your interactions. You were two twisted souls fighting for control over a situation that belonged to neither of you. And in truth, the basis of your relationship with Rio was denial and attraction. It would continue to thrive on that as long as you both refused the obvious.

So maybe, just maybe you’d come to the bar in hopes of seeing him in order to test that theory. It was a slim chance he’d even be here, but you were just buzzed enough that you were willing to roll the dice and find out. Plus, your desire for him felt like an extension of your body at this point. You had to satiate it. Had to feed the raw passion that grew stronger each day without him. It demanded it. And it wasn’t for lack of trying. But your own hand didn’t ignite your body the same way his did, asshole or not.

“I’ll be back.” You called over the music, gesturing to the darkened hallway that predictably led to the bathrooms. Your friends nodded and went back to flirting with the handsome blue-eyed waiter.

You shot a meaningful glance in the direction of the bar. To the “hot stranger”. Whether or not he’d take the hint was on him.

You made it to the single-use bathroom easily. It wasn’t late enough for it to be crowded with the surge of a Saturday night crowd, but the place was still busy. You set your purse down on the sleek surface of the sink counter, admiring the emerald green tiles that paved the walls. The fixtures were brass and gleamed in the light of the vanity bulbs. It was a beautiful space. Carefully crafted for a magazine like Architectural Digest.

Your eyes swept over your reflection in the large mirror that sat over the sink. You made sure not a lash was out of place as you surveyed your appearance. You adjusted the low neckline of your yellow dress, the hue radiating more gold than you’d initially noticed. The silk material felt cool against your heated skin, the slit in the skirt offering some relief. The long sleeves of the garment added a sleekness to the otherwise risqué ensemble. You’d never worn the dress. But tonight seemed as good a time as any to debut it.

The sound of the bathroom door creaking open made you pause, eyes watching in the mirror for who entered. You wondered if it’d be him. Wondered if he ended up following you like you’d hoped.

Your stomach knotted when Rio stepped in, closing the door and locking it with a resounding click. He was stoic. Shrouded in black and looking every bit as menacing as he truly was. A sight for your sore eyes.

You turned to face him, your chest both tightening and expanding at seeing him in the flesh. He made your heart stutter and your spine tingle, yet irritation slowly seeped into your pores, reminding you of the last interaction you’d had with him. It was a clash of sensations and feelings. It was utter chaos. And it's what you’d been missing.

Silence hung in the air as his gaze roamed your figure, appraising you hungrily. You shivered, careful to hide the gesture from his intense stare. You schooled your features and angled your chin up in confidence that you weren’t entirely sure you felt. But you weren’t going to budge. You were going to make him come to you.

He was leaning up against the door, a barely there smirk adorning his lips. His scent began to eclipse the smell of vanilla soap that permeated the air. Your eyes wanted to roll back at the familiarity of it. It was soothing. A comfort to your deprived senses.

“You miss me, mama?”

That deep rasp made your panties soak immediately. It was a question he’d asked you many times in the past, but you’d never felt it as much as you did now. Because yeah, you did fucking miss him.

You stayed silent.

He chucked at your refusal to answer. “Still mad at me?”

Again you said nothing.

He licked his lips, eyeing yours as he did. “I tried calling.”

“I blocked your number.” You finally responded, voice icy and detached.

“Damn, that’s cold.” He said with an amused shake of his head and a laugh, the sound making your nipples harden in traitorous lust.

“Why? Did you need something?” You questioned coolly, crossing your arms over your chest to hide your mounting arousal. Your thighs rubbed together, beginning to slid against each other as your arousal made itself known.

He stepped forward, heading in your direction with intent. You straightened your back, unwilling to let him get the upper hand on you. You knew what was going to happen. Knew where this was headed. So why not use it to your advantage? Why not toy with him for a change? He deserved it. 

You used the added height of your heels and eased yourself onto the countertop, parting your thighs slightly so that your dress fell between them. You leaned back on your hands, the chill of the marble countertop beneath you reminding you so much of that day in your kitchen.

Rio’s steps halted momentarily as he watched you, eyes zeroed in on the juncture between your thighs that was hidden behind the silk. Your pussy practically begged for his attention. Dared him to see your need through the fabric that shielded you.

You were still upset with him. Still displeased with the way he’d chosen to handle the situation and you. But more than anything you wanted him to succumb to you. You wanted to feel that thrill of having him at your mercy. So powerful, yet so fragile in the midst of his bliss. You wanted...no, needed him to wave his white flag first.

“Tell me then,” You began, slowly easing the hem of your dress up as you spoke. “Business or personal?” You questioned, wanting to know if he’d be truthful about why he’d tried to contact you.

He resumed his path towards you with a dangerous lick of his lips, but his gaze never faltered as it took in every new stretch of skin that was revealed. He tried to reach out and touch you, but you raised a heeled foot to his abdomen and stopped him, keeping him at a distance.

“Answer me.” You breathily demanded.

His face registered your words while his eyes took in the stretch of leg that kept him away. You eased the limb back down and waited for him to comply.

He decided to play along.

“Business.”

He continued walking when you didn’t stop him, standing between your legs and trailing his fingertips along the inside of them. His movements shifted your dress up even higher onto your thighs. The sensation would’ve tickled if you weren’t already deliriously turned on.

“Liar.” You accused, already feeling his warmth radiate onto you as he edged closer. His breath mingled with yours, mint and whiskey assaulting your nose.

“So are you.” He retorted, eyes planted firmly on your parted lips. He moved in until you were sure he could do nothing else but touch his mouth to yours. And yet you still weren’t going to meet him.

“So we’re both liars?” You asked, arching a brow up at him.

“Yeah.” He nodded and swallowed, the tattoo splashed across his throat pulling your focus. You fell captive to his spell as you got lost in memories of licking and sucking the inked flesh, remembering the way he tasted on your tongue. The recollection caused your legs to widen and your back to arch into him, pushing your chest against his. God, you wanted him. You wanted him so badly that your pussy clenched around nothing, as if feeling him already deep inside you. It was a silent call to a lover. One he would never hear. But he’d feel it soon enough.

Your clit throbbed against your lace panties, aching to be assaulted by his talented fingers. With him so close you could feel just how badly you needed him inside you. It felt wrong for him not to be. Felt wrong to not have him share a pulse with you when he was this near. You were going to remedy that.

“Well then,” You whispered, leaning forward to hover over his lips. “I don’t want you to fuck me in this bathroom.”

His hands glided up your thighs while his nose skimmed along your cheek. His breath was hot against your ear as he maneuvered himself so that barely a sliver of air was left between you.

“So I won’t.” He lied in return, the words coating you like his cum had done numerous times before.

In an instant your lips were being pulled to his. His hands were suddenly everywhere and all at once, seeking out your flesh in desperation. It pleased you to know just how badly he needed you. How badly he craved you.

He slid you closer to him, letting your lace-covered lower half come into contact with his crotch. Ragged breaths and low hums filtered through the air as your bodies grinded against each other, seeking firm hands. You could feel him pressed against the zipper of his dark pants. He was hard. The notion made you moan into his mouth, scraping your nails over his scalp.

It was just like riding a bike. Except there was an added layer of intensity this time that hadn’t been there before. His touch burned hotter than usual. Your grew cunt wetter with every pass of his tongue along yours. They weren’t new sensations, but they felt different. Indescribable. Perhaps it was the public sex. Perhaps it was the underlying tension. Either way, it was remarkably explosive.

You pulled away from his insistent lips to take in air. He continued on, mouth moving over your neck and across your exposed cleavage. He nipped at the flesh, his lips sensuously soothing the area as he explored. You pushed into him in invitation, widening your legs so that he could press harder into you.

You waited for him to take the next step. Waited for him to escalate the moment into more than just heavy-petting and sloppy kisses. His hands, as if reading your mind, traveled up the skirt of your dress and found the edge of your panties. There was no hesitation or teasing in his movements as he roughly pulled them off, the elastic popping against your skin and making you cry out.

Rio licked at your neck in apology, his own hands now moving to his belt. You shifted closer to the ledge of the counter and followed the trail of heat that led to his pulsing cock. His flesh bumped against you, the feel of him hot and heavy along your soaked slit making you whimper.

Your nails dug into the fabric of his shirt as he pushed forward and sheathed himself inside of you in one hard thrust. You gasped and tightened your legs around him, your right hand in search of something solid. It landed on the mirror behind you, your palm sticking to its cool surface as you braced yourself for the inevitable.

His facial hair scratched at your skin as he buried himself into your neck. He held your hips steady as he retreated and then plunged back into your welcoming walls, stretching you with a burn that made you hiss. Your pussy massaged his length with fervor, seducing him further inside and begging him to claim you once again.

You reached for anything you could to stabilize yourself as he fucked you into the reflective glass at your back. Moans and groans intertwined as your bodies rocked against each other. The soap dispenser fell into the sink with a loud clatter as you accidentally made contact with it. The stack of towels folded neatly near the faucet became disheveled as your ass knocked them out of place with the momentum from Rio’s cock. The entire vanity shook with each intensely thorough thrust of his hips into your womb. It was animalistic. The very epitome of what bathroom  sex in a bar should be.

No words were said. None were needed. Your actions led the conversation.

You squeezed your inner muscles around him, daring him to surrender before you. He twitched, his hips stuttering at the feel of you so tight and wet around him. He growled into your ear, a sure sign that he loved the gesture a little too much.

So you did it again.

“Stop that shit.” He grunted, hips picking up their pace.

“Cum.” You whispered in response, the demand disguised as a request.

“Fuck…” He groaned when you held him to you and clenched around him once more. You trapped him, giving him no choice but to experience your deliberate enticement. His fingers dug into your thighs almost painfully so, forcing you to wince.

He was close.

You reached between your bodies and massaged your clit, feeling your pussy react immediately. Sporadic tremors vibrated your walls and his cock, making both of you moan. Rio’s palm slammed into the mirror at your back as he rutted his hips harder into yours. He was rough and unforgiving, the aggression heightened by your disobedience. It had never quite been like this. There had always been a touch of softness, a soothing placation or word of encouragement. Not tonight. Not as he fucked you so hard you were sure the mirror was going to crack and rain down luminescent crystals of glass over you both.

You showed no mercy as you forced him to submit to you and your body. The precipice was there. It was within reach. You could feel that tightly wound coil ready to unravel. It felt like too much and not enough at the same time. Your mind was a prisoner to your pleasure. You thought of nothing but the sweet release that you knew was waiting for you. And it was. It was waiting for you with open arms as Rio finally came, triggering your own climax as he filled you so deliciously full of himself. His entire body tensed within you as he held you firm and painted your shuttering walls.

The familiar sensation only added to your high as your limbs tensed and loosened with each wave of euphoria that washed over you. You squeezed your eyes shut and catapulted through space as your body struggled to ground itself once again. Rio had gone rigid, letting you ride out your orgasm in peace as you suffocated his cock. His cum was already leaking from your walls before you’d even finished, a trail of him decorating your swollen pussy.

Your eyes fluttered open to see him staring back at you, his lips pulled into a lazy smirk. You mirrored his expression, releasing a breathless chuckle. Your body still hummed in excitement, but this time it was punctuated by the deep satisfaction that radiated from between your thighs.

“You good?” You teased, hands resting on his chest and feeling the rapid beats of his heart beginning to slow.

He laughed, the sound low and tinged with fatigue. “Yeah.”

He licked his lips and took in your disheveled state, gaze catching a glimpse of the lace bra you wore underneath.

“Let me drive you home.” He said suddenly, his arrogance alive and well.

It was on the tip of your tongue to deny him, but you chose not to.

“Sure.”

**********

The car ride was silent.

After your impromptu coupling in the bathroom, you’d made up an excuse about not feeling well to your friends and explained you’d already called an Uber. They were hesitant to let you leave alone, but somehow you’d persuaded them to stay and not follow you. You were sure the alcohol they’d consumed had something to do with it.

With hugs and promises of texts that everyone made it home safe at the end of the night, you departed from the bar with Rio in his Mercedes. He’d been driving for about ten minutes, the air not as tense as it’d once been. He seemed content to let the quiet linger, but you weren’t.

“What happened to the new guy?” You asked, glimpsing his face to gauge his reaction. It was dark in the vehicle, but you could still make out his silhouette amongst the various street lights.

He furrowed his brow and pouted his lips, confusion reading easily across his features.

“What new guy?”

“My new contact. The one I was supposed to have.”

“Didn’t work out. Mick has it handled.” He replied simply, gaze still trained on the road in front of him.

“Okay.” You said with a nod, the dryness in your tone letting him know you didn’t quite believe him.

He wordlessly turned onto your street and came to a stop alongside your driveway, putting the SUV in park. He angled his body to face you, trapping you in his stare.

“It was never about you.”

The question must’ve shown on your face because he continued.

“The switch. It wasn’t about you.”

“Wasn’t very convincing.” You deadpanned, scoffing as you played with the zipper of your clutch.

He didn’t react right away. Instead, he watched you. Watched you in that way that let you know his thoughts were as impure as the counterfeit money he produced.

“You look good in that dress.” He complimented, chin jutting out and gesturing to the fabric that adorned your body.

His praise made warmth bloom in your chest. The kind of warmth that was usually accompanied by butterflies in your stomach.

“Thanks.” You replied evenly, not letting him see just what his words did to you. Though you had a feeling he did, despite not bearing witness to it outright.

“Better without it.” He added with a slide of his wicked tongue across his bottom lip, his teeth following. The action was purposeful. Erotic. Blatant. It was all Rio.

You didn’t respond to his flirting. You only sighed, mirroring his position as you resigned yourself to have an honest conversation with the man.

“So,” You started, forcing your fingers to still. “What is it that you want?”

He eyed you for a long moment. Long enough that you started to feel self-conscious.

“You.”

You nodded, disappointed but not shocked by his reply. The word wasn’t new. Though it was lacking the hollow cockiness that usually accompanied it.

You opened your mouth to respond, but he spoke up before you could.

“In whatever way you’ll let me have you.” He admitted.

The statement caught you off guard. He wasn’t trying to be cute or charming. He wasn’t being placating or condescending. He was being serious, the hardened intensity in his dark orbs softening to a tender resignation that you were sure matched yours.

“What about you? What do you want?” He repeated back to you, eyes narrowing as he waited.

You took a moment to observe him. Your eyes followed the arch of his brows and the sharp jut of his cheekbones. You studied the pout of his lower lip and his Adam's apple as it bobbed with his throat muscles. He was so many things to you. None of which you could put into words. You didn’t think a word had even been invented yet. It didn’t matter. You were both making your own rules. And it seemed, for once, that the both of you were on the same page and playing by the same rules.

“I want you to have me.” You confessed, meeting his gaze.

And there it was. He was resigned to having you in limited capacity. You were resigned to finally letting him have you. Two conclusions coming together at the same moment. You weren’t quite sure what that meant for you both, but it was a start. 

“Goodnight.” You whispered into the darkened cab, a small smile pulling at your lips.

You didn’t wait for him to react. You turned and opened the door, exiting the vehicle. He didn’t try to stop you. You rounded the front of the car, hearing the driver’s side window slide down.

“So I’ll see you next week?” Rio asked out the open window, chin resting in his hand.

“At the drop?”

He nodded.

You shook your head and laughed, though there was no real humor behind it.

“You wanna tell me again it wasn’t about me?” You challenged, a wide grin decorating your face.

He could deny it. He would probably try. But you knew the truth. And that was enough.

For now.

“Night.” He called, an amused upturn of his lips showing in the light of the full moon.

He turned to the street, starting the car as you walked up your driveway. His eyes followed you the whole way, ensuring you made it in safely.

You heard him drive away once you shut and locked the front door, your lungs releasing a long breath. You pulled out your cell phone and went to your blocked caller list. You selected Rio’s number and unblocked the listing, adrenaline releasing into your bloodstream as you did.

Almost immediately your screen lit up with a text.

Same time and place tomorrow?

You bit your lip, feelings akin to teenage infatuation bubbling to the surface. You hastily typed a response.

See you there.

The message was read immediately. 

Rio Tags:

@tomhardydallasstarsgirl​

[grewlikefancyflowers]

Hi, I hope you're having a lovely day/evening!

So, I know you're critical of MDZS adaptations, so this is why I'm coming to you as someone who just finished CQL.

 

I don't understand why people claim that CQL “missed the point” of MDZS or failed to adapt its central themes. I think CQL does a good job of getting addressing themes, such as status and social power infomring actions, public opinion and its changeability as well as how collectice narratives and opinions related to a person become more real and tangible than who the person actually is.

CQL is doing something different with its own story and as a result, it handles wangxian differently as well. It has a different dynamic, different circumstances, and a different narrative. If it doesn't make sense because the CQL adaptation removed an element from the story, maybe consider that (xyz) isn't actually meant to be their mindset at all? Just because they don’t have the same motivations towards each other as in the novel doesn’t mean those motivations don’t make sense within the world of CQL. The circumstances are so different from MDZS in places that if you’re only looking at CQL through that lens, then of course it’s going to look like a pale and nonsensical imitation! 

just a preface i don't care about cql enough to deliver any sort of meaningful analysis on it, if that's what you're interested in ouyangzizhensdad has made some good posts abt it.

preamble out the way, i watched cql first before i knew anything about mdzs, and i thought it was bad as i watched it back then too. so it's not as if i'm just biased against it as a novel main. anyway, i think its generally fine to analyse an adaption independently of it's source material, but the problem with cql is that it's nonsensical without mdzs, but it's also nonsensical with mdzs.

some examples, wx's relationship (even when looked at platonically) makes no sense at all in cql. one minute they don't even seem to like each other and the next they're calling each other soulmates, despite never seeming to actually trust or understand each other. when i watched cql's version of phoenix mountain i thought what?? they're supposed to be friends now ?? at the time i assumed it must have just been censorship issues but it turns out cql's writers were just incompetent. it was the same with that part in the cloud recesses arc when lwj and wwx end up tied together with the forehead ribbon—they could have used that to imply that wx's relationship is romantic while still getting around censorship, but their relationship didn't change after that. there's so many moments like that in cql that feel like should be meaningful to wx's relationship but end up having no impact on them or the story. it's all just meaningless queerbait.

also, the acting is terrible. i had to pause to laugh at moments that are supposed to be emotional because they were acted so bad (when wwx is thrown into the burial mound, jyl's death).

that aside, cql doesn't adapt the themes of mdzs well at all. which i spoke about here. one of the most important themes in mdzs is how authoritarianism and social hierarchy are inherently corrupt, honestly the final message cql delivers is the exact opposite of that. eg cqlji becomes chief cultivator and also what the fuck is up with that 'you're not qualified to speak to me' line.

so basically, cql did not successfully adapt mdzs—not the story, characters or themes. neither can it hold itself up as an individual work. it's just bad—the costume design is bad, the pacing is bad, the story doesn't make sense, the lore doesn't make sense, the characters have no consistent traits and are for the most part extremely unlikeable. it's just bad and that's all there really is to say on the matter.

[hellsingmongrel]

Honestly, that’s perfectly valid.  I don’t watch a lot of television myself, tbh, unless it’s something that just absolutely hooks itself into my brain, and since the og anime was one of my original hyperfixations, I knew this one was going to get to me, too.  But then I read the manga after all these years because I was finally able to get scans of it online (Look up the Ultimate Overhaul, it’s a fan translation that fixes a lot of the janky translations that the official publications had in them) and omg, the love I had for the original series PALES in comparison to the amount of fixation the manga has caused!

Seriously, there are things in the manga that I never in a million years would have expected out of a mainstream manga series from 30 years ago that are actually deeply important to me, and having them be presented there and in a non-pandering sort of way was AMAZING.  And that’s not even talking about how just phenomenal the actual story is.  It’s so much deeper and more complex than the 98 series appeared, even with the little mysteries and reveals in the latter episodes.  It’s made what used to be an old fandom of mine that was a cornerstone of my formative young-adult years and made it even more special and important to me as an older adult.  It’s not just mindless, goofy slapstick and action (though there’s mountains of crazy fights, it’s almost nonstop fighting, it’s INSANE) but there’s actually really deep, philosophical conundrums it brings up and tough issues it tackles.

It’s SO worth a read, even when it makes you break down sobbing multiple times.  I seriously knew the Big Sad Event was coming because it was in the original anime, and I knew the signs to look for to know that the thing was happening.  There’s one single object that will send the entire Trimax fandom into ugly tears when we see it, and we frequently troll each other with it just to collectively poke the emotional bruises and cry together because it just had that much of an impact on us.  I knew all this stuff was coming, I thought I was prepared for it, and yet when that stupid thing showed up, I realized how unprepared I was.  So many tears, so many ugly, ugly tears!  And I loved every fucking minute of it, horrors and all!

So yeah, sorry that I got a bit prickly in the beginning.  It’s just something that a lot of people have been being stupidly elitist about when they don’t actually know what’s going on with the new series or what it’s trying to be and how it relates to the manga, and it’s been frustrating because of how most of the time, the criticisms are just a surface-level complaint that don’t have even a fraction of the full picture.  So I got a little grouchy (and had also been groggy and dealing with a lack of sleep, oops) because of how honestly groundbreaking the manga was, in a lot of ways that aren’t even known even now, so long after it came out.  So many people just think of the silly 98 anime, and it just kind of feels like people are criticizing, say, the Lord of the Rings trilogy because it’s not the same as the old Rankin Bass Return of the King animated film from the 70′s, if that makes sense.

None of the adaptations are perfect, the original source material isn’t even perfect, but it’s so good, and has a pretty important place in the history of our subculture, and it at least deserves its chance to lay the story out there for you to make a decision on after you’ve seen/read it.

Decided to watch the new trigun anime, because i fucking loved trigun as a kid and oh my fucking god. Yall. I do not understand. I got half way thru the first episode and just turned it off. I decided to rewatch the original instead and its so much better already... why did they axe my giant gunslinger bimbo and replace her with a generic alcoholic old man? Smh.

[bigskydreaming]

Also if people instinctively reaching for their “its just my interpretation” arguments as a rebuttal to that post about issue #416 could just not, I’d super appreciate it, thaaaaaanks.

See, the problem I have with that is like....no its not. Its really really not. If your fic or your meta is otherwise DIRECTLY referencing specific story beats of that specific ISSUE, like Dick not having talked to Bruce in over a year, or Dick not knowing Jason even existed until he saw it on the news, or Dick leaving Jason his phone number, or anything of the like.....it is not at all unreasonable for me to expect you to acknowledge the story beats of that very same issue that all of those things are written IN RESPONSE TO. 

You can yell at me about how the firing is just a retcon til the cows come home, but y’know what? It was a retcon that was reiterated IN THAT VERY SAME ISSUE. In it, Dick reiterated what the firing looked like from his perspective, how he waited around for two weeks for Bruce to change his mind before packing up and leaving with opportunities for Bruce to say something every step of the way....THAT is the SPECIFIC sequence of events that Dick’s anger about all of this comes from.

So its extremely disingenuous to try and pair that anger with the pre-Crisis ‘better version’ of events where Dick gives up being Robin all on his own and becomes Nightwing while still on good terms with Bruce...because that version of events has its OWN corresponding aftermath that was written in direct response to THOSE character choices. Like the aftermath where right after becoming Nightwing, Dick turns around and offers Robin to Jason himself, as he of course is already well acquainted with Jason by then. See, that’s kinda part of why Dick and Bruce are on such better terms in that version of events. It has a lot to do with Bruce not adopting a whole other son without so much as a phone call to let Dick know his family had expanded.

Now you can mix and match to your heart’s content, that has NEVER been in question. Especially since as so often said, its a fandom past time to take a match to canon and watch it burn. You don’t have to adhere to aaaaaanything you don’t want to.

BUT.

If you want to talk about INTERPRETING the canon? That is subject to a different set of standards. Because you’re acknowledging that the source material exists as a point of RELEVANCE to you.....and the fact is....the source material is the SAME for everyone discussing it. Now, people can and do have different interpretations of that same material, this is obviously true. But ACTUAL. GENUINE. DISCUSSION of it.....requires that all parties at least discuss those interpretations in good faith, and make an honest attempt to address the material as it is.

And that is not what happens in this fandom. Because you damn well KNOW that for all your talk of the firing just being a retcon......its still the specific version of events the “Dick being mad about Bruce giving Robin to Jason” thing is directly meant to reference and BUILD off of. Retcon or not, it is indisputably the FOUNDATION upon which the other character choices of that very same issue are built atop of.

Because there is another version of events, yes. The pre-Crisis version where Dick gives up Robin. But as I said, that version DOES NOT HAVE Dick angry or resentful....because a key component of it is that all three of them, Bruce, Dick and Jason, are already a family in spirit. There’s a true succession of Robin from Dick passing it down to Jason.

And a lot of you guys know this too. Especially the ones most likely to reach for that “let us have our interpretation!” arguments. Because the Dick Grayson corner of fandom has posted about it a LOT. In fact, we kinda churn out a crap ton of content for this fandom. Headcanons, ficlets, informative posts, etc. And there’s a very curious phenomenon that exists.....

Literally anything I or certain other DG fans post that is inclusive of the whole family, or does not reference any specific event that’s infamous within fandom for pitting Dick against another Batfam member in a ‘who was right, discuss” kinda way.....that tends to circulate WIDELY in fandom. We’re talking upwards of a thousand notes, regularly.

In comparison.....the informative posts that are chock full of panels pointing out how canon actually goes in these specific instances.....tend to top out at a couple hundred max. Its pretty much just fellow DG stans who reblog them. Everyone else, despite them going through the same initial routes of circulation....are very good at pretending they don’t see them.

Because see, misinformation - and make no mistake, that is what we’re talking about here - RELIES on a lack of like.....actual information provided to the contrary to thrive. 

For instance, if it were as common knowledge that in the pre-Crisis version of Dick becoming Nightwing, he makes Jason Robin himself, as it is say.....that the firing Dick as Robin story is ‘just a shitty retcon’......people might start to ask in greater numbers, like, okay, so why DON’T more people write Dick making Jason into Robin after giving it up himself? Why have Dick so bitter at Bruce and/or Jason, if in the only version where Dick gives up Robin, Dick passes it on himself? If you’re gonna go with the one, why not the other?

Because we all know damn well that’s not a difference in interpretation. That’s a conscious CHOICE to TRANSFORM the source material by stitching together two different sides of a cause and effect chasm. The events transpiring after Dick finds out Bruce made Jason Robin himself ARE NOT MEANT to reference the inciting event of Dick giving up Robin himself. You can make that happen, sure. But you have to MAKE it happen. There is no point in the comics where you can honestly, genuinely point to the comics and say this right here shows Dick being mad about this, where ‘this’ is Bruce giving Robin to Jason SPECIFICALLY after Dick gave Robin up, rather than being fired.

A choice has to be made there, for that to happen, if one has the ACTUAL information about how that really played out in the comics rather than just misinformation. And not everyone in fandom trusts everyone else to make the choices they would like them to make with the source material, do they?

After all, isn’t that the REAL root of all this?

See.....its no secret to any of us that nobody’s been all that happy with the actual comics aka source material in years. Meaning most of fandom, myself included, is here for meta and fics based on previously written comics, or our own adaptations of the material.

And fandom, being interactive, unlike canon.....is something that CAN be influenced by other fans.

So why don’t we all just stop fucking pretending that we’re not all trying to influence what the overarching fandom narratives are, shall we?

Oh, you can say this is just me projecting, but I’ve got plenty of instances of hypocrisy to point to that say otherwise. And THAT is the true source of my hostility in so many posts in this fandom.

Because its the very same people who loudly cry “let people have their headcanons” and “let people have their interpretations” and “stop trying to tell people there’s only one true version of canon to go off of” who NEVER. EVER. fail to show up on posts like that last one, the SECOND they start to circulate ‘too widely’ throughout fandom. There is ALWAYS someone waiting in the wings the minute a post like that starts to top a couple hundred notes, ready and raring to shoot it down with some kind of derailment or condescending reminders to everyone who might see it that ‘that’s just a bad retcon for people obsessed with misery porn’ or something like that.

And what exactly should we be calling that? When people show up every single time I make a post about the importance of Robin as a name to Dick, in order to make a big stink about how it being his mother’s name for him is just a retcon? Even though....did I say it wasn’t? Does it being a retcon mean it doesn’t exist? Am I not allowed MY interpretation of a story that very much does exist in canon, am I not allowed to reference other stories where that specific retcon is specifically linked to?

Or how about if I say, post a headcanon about Alfred getting snippy with Bruce about not reaching out to Dick after he leaves home, where within the headcanon itself I specifically reference a clear version of the story where Dick is fired and its eighteen months before he and Bruce speak again? Does this story not exist in canon? Am I not allowed to base stuff of it? It would seem not, given the way people jumped to derail that one by adding in additions about Dick being upset with Bruce about college, which is an entirely different continuity that in no way intersects with the specific events I reference, where they’re estranged for a clear reason that is directly raised within the headcanon itself. People even acknowledge “OP is entitled to any version of continuity they want” in that one, but are like....this one is wrong though, and true fans prefer the one that isn’t just misery porn meant to validate Dick’s teenage angst. With people all too happy to reblog that one while gleefully pointing out the tags that completely derail the post about a clear point in canon by making it entirely about another unrelated point in a different continuity in order to invalidate the initial headcanon or whatever.

Don’t even get me started on when we dare reference stories where Bruce is actually physically abusive to Dick, or when we link Dick’s actions in stories that acknowledge the emotional abuse or neglect of certain key moments in his life TO those inciting moments directly and say “hey its kinda shitty to act like Dick was just being a standoffish brat here when Dick’s attitude is actually directly based on the last time he and Bruce interacted being when Bruce told him to get out and leave his keys.” LOLOL nooooo, that’s not allowed to stand, because see, the ONLY possible reason we could have for even CONSIDERING those stories in character or in continuity, is because of the aforementioned addiction to misery porn or else because we’re just trying to smear Bruce to make our own fave look better.

Never mind that another popular refrain for a lot of the people I’m talking about here is “you don’t know what people are thinking or why they like the things that they like” so, y’know. It is a tad irritating to see that double standard applied, like I mean. Just speaking personally, I’m a survivor of childhood physical and sexual abuse with a lifetime’s worth of C-PTSD and permanent estrangement from my abusive family, so like....those stories where Dick is abused by a figure he never thought would hurt him and now has to reconcile that with still loving and admiring that very same person and still wanting to be family.....like, hey guess what, those themes are part of why his character resonates for me in particular and so they’re kiiiiiinda key for me to explore for a lot of reasons. And given that this fandom looooooves to talk about some people writing dark shit to cope, I find it veeeeeery curious that people are so willing to shut the fuck up and say nothing about incest, rape and pedophilia fics even if they don’t like them themselves......but will still come out of the woodwork to condescend about there being absolutely no valid reason for anyone to ever engage with content where Bruce is abusive even just in one singular instance.....nah. Its literally just cuz of the misery porn addiction.

But see.....the thing at the heart of all this is the simple fact that this hypocrisy doesn’t exist just for the sake of hypocrisy. It exists because we actually all DO know how much power and influence fans can have in an interactive environment like fandom.

After all, the entire reason that Dick Grayson fans are so often posting informative panel-filled posts about what ACTUALLY happens in canon stories that are DIRECTLY cited in many meta, fanfics and headcanons, just.....in a totally backwards way that just so happens to fail to mention that its not intended to be an accurate depiction of the canon its definitely mentioning its in reference to....

The entire reason for this is because of how thoroughly fandom has crafted a specific narrative for Dick Grayson’s character that is based PURELY on their own characterization wants and needs and has very little to do with the actual canon of the character.

Its not a coincidence that so many fans just so happen to genuinely, truly believe that Dick was a grade A asshole to Jason while he was Robin, and there’s a wealth of canon out there somewhere to back it up. No, this happened because of fanFIC narratives where this is the case, and these catching on, and being encouraged by the initial writers of this trope and its fans and so on and so forth until it became the overarching fandom narrative and not only didn’t require any canon basis to be so....it barely ALLOWED for any talk of the contrary. Dick Grayson stans had to yell and churn out posts like that last one for YEARS to make a DENT in this fanon conviction, and do NOT even approach me about it being an issue of tone and ‘if we’d only asked politely’ because lol. No. We did. You can find the clear shift in the tone of my posts from when I first re-entered the fandom years ago to when I just got frustrated with the willful avoidance of WHY so many fans like myself are so annoyed by certain fandom convictions......and even then, it was about the hypocrisy. It was about how loudly other people crow about letting them have their headcanons while literally shouting down ANY post we made about wanting space to just have our CANON-canon.

Pro-tip: that thing where if you just ignore someone long enough on a certain point, they’ll inevitably start to get frustrated and then you can point to their tone as being the problem and claim that was the issue all along? Yeah. Its not slick. This fandom didn’t invent it. Its always very transparent, and very obnoxious. 

But the point is.....fandom absolutely has the ability to override canon narratives with their own version that’s then formative for new entrants to the fandom who never even BOTHER with the source material and just are here for the fic. And so its dishonest as FUCK for people to not only MAKE no distinction between what’s genuinely their interpretation of the canon and what’s their transformation of it, with INTENT......but to weaponize fandom’s aversion to content-criticism to shout down even ATTEMPTS to introduce discussion of the actual source material by claiming oh you’re just trying force your preferred narrative on everyone else. Aka that thing THEY’RE actually doing themselves by once attaining a fandom wide narrative they like, maintaining a stranglehold on it and doing their best to dissuade any narratives to the contrary staking a claim alongside that.

Because again, it all comes back to the fic. See, as a Dick Grayson fan, I’ve made no secret of the fact that I turn to fic for what I can’t get from canon...and its frustrating as hell to see writers that loudly talk of being BETTER than canon and “RIP to canon but my Batfam loves each other” in a lot of cases DELIBERATELY make Dick in particular look WORSE.....and then act like they have no idea what we’re talking about when we try and tell fans who take these narratives at face value that uh, they’re lacking some extremely relevant context and nuance. Or in some cases, outright facts.

And I will happily laugh loudly in the face of anyone who tries to claim that they don’t feel similarly about fics that characterize their own faves in ways they don’t like.

Yeah, try telling me that after years of some of you writing fics that specifically exclude all reference to the events of Nightwing #30 when talking about Dick’s death or Spyral.....while still including every in canon instance of people bagging on Dick for what he only did in canon because of Bruce’s abusive writing. There’s kinda a vested interest in keeping fandom relatively free of talk of Nightwing #30 then.....because weirdly, people who write about a DIFFERENT take that’s not hostile to Dick seem to end up putting the blame on Bruce for that situation. Bizarre, I know. People attributing blame to the character who was actually abusive in the canon and being cranky that the victim of said abuse is held up as the sacrificial lamb in everyone else’s fics? Whodathunkit.

(Also a point of irritation - it never had to be just one or the other. This is where the whole ‘maybe its YOU guys who were projecting all along when you said the only reason we could have for talking about Bruce’s abuse was an intent to smear the character’ bit is a thing. See, fun fact: if you were going to ignore an issue or two in order to completely flip the narrative of what really happened with Spyral and dominate the fandom landscape for a couple of years....it never had to be Nightwing #30 that was the ONLY issue you could leave out in order to not make Bruce look like an abusive asshat. Like, there was always another option right there in front of you. You could have instead chosen to also leave out Grayson #12, aka the one where Dick informs everyone else he’s alive.....then you could very easily just sliiiiiide in reference to Bruce and Dick quietly informing the whole family of his status and his mission while insisting on keeping it quiet for his safety. Voila. NOBODY has to be an asshole then, and the whole family gets to be in the know. But see, most people didn’t actually have a problem with someone being an asshole in that story. They just didn’t want it to be Bruce, and didn’t mind it being his actual victim. 

Even though, lol, just another FYI.....abuse victims having things flipped on them so it looks like they’re the true problem and their abusers are completely innocent is a HUGE thing that happens a lot in real life, so FYI about that FYI.....anyone who does say, gravitate towards Dick Grayson specifically because of how he’s impacted or might be impacted by abuse from his father, like.....is proooooobably not going to have a super fun time with diehard commitment to making this particular fictional character the true mastermind of his family’s misery and abusive instead of the abused. Weird huh.)

And round and round it goes. Where it ends, nobody knows.....because it doesn’t. fucking. stop. The number of ways in which fandom has willfully flipped the narrative so that Dick is the aggressor instead of the aggrieved is just absolutely ridiculous. This guy has been punched by every member of his family except Duke and Alfred, and somehow he’s the one characterized as uncomfy to be around because of how volatile he is. This guy is the only one who has actually been KICKED OUT of the manor, and somehow that gets glossed over and considered out of character while he apparently definitely did very much do this exact specific thing to Tim, I hear.

And like broken records, people squawk ‘let us have our interpretations/headcanons/etc’ any time we try and make a stink about how no, actually, that’s NOT HOW IT WENT....and at the EXACT SAME TIME....most of these exact same people show up on every post that uses ACTUAL information to make Bruce or Jason or Tim or whomever look like the actual problem in a story where they were actually problematic, like, the SECOND a post gets popular enough....to derail, to condescend, to shout it down with how its just a retcon or its out of character or its just a bad take or how fans with taste know better than to take it seriously.

And why do you care? Like, if we’re all supposed to just live and let live and everyone’s allowed their own interpretations, why this everpresent need to show up all the time with a superior, patronizing ‘oof, this is just not good’ the second one of YOUR faves is in the hotseat, while condescendingly boxing out any posts informing people of how no, actually, Dick and Kory’s breakup WAS linked to Mirage and Dick and Donna’s infamous fight WASN’T the way its commonly talked about and oh yeah there was brainwashing there too and etc, etc....see, when WE do that, we’re just overacting stans who can’t stand others not liking our fave. Instead of just....trying to correct misinformation so more fans can at least engage with the character from a starting point of zero instead of a negative integer. 

So why this hypocrisy? Oh yeah, because you don’t WANT the misinformation corrected. Because see, when the misinformation IS corrected, fic writers en masse....make different choices. And that’s why ever since more people started picking up the refrain of “well no actually Dick DIDN’T hate Jason, here’s the proof”.....there’s a lot more stories out there where...shockingly....Dick doesn’t hate Jason. Which bizarrely, does not really work well for the people who WANTED Dick to hate Jason and made a point to SHAPE the narrative to make him hate Jason.....because it wasn’t about that just being their interpretation, and it never was. Because the CHOICE to cut out Dick’s ‘justification for feeling slighted’ by being fired as Robin and pair that specifically WITH Dick resenting Jason for Bruce still making him Robin instead of Dick doing it....that has a narrative cause and effect within a lot of the fics that go with this. It gives Jason eternal underdog status that makes it easy to root for him while positioning someone specifically to blame for that underdog status and unfair playing field, and it also keeps focus off Bruce as the cause of any issues between his sons due to choices HE made, thus one singular figure is positioned as the obstacle to family unity....and that figure isn’t Bruce.

And no canon to the contrary will be acknowledged as legitimate.

Convenient huh?

Especially paired with the ‘thou shalt not con crit on another’s fic’ fandom commandment. Because when you can’t complain about any fanfic depictions whatsoever without immediately and inherently being cast as the rabble-rouser by default.....the ability to shape and dominate a specific fandom narrative becomes veeeeery key. After all, another popular fandom phrase is ‘we’re not the DC writers, complain to them about canon.’ But when there’s no canon complaint to be made to DC specifically, because its not canon we’re actually upset about, and we’re not ‘allowed’ to criticize fandom depictions because people are allowed to have their interpretations......all you have to do is stand your ground and insist that the fandom depictions of Dick are nothing BUT ‘interpretations’ and not acknowledge aaaaaaany of the places where you consciously make the decision to transform canon choices and behavior around him.....and voila. You’ve wrapped everything up in a neat little logic trap. Quite the fait accompli. There’s really no way for anyone to say or do anything ABOUT this little situation here without being ‘disruptive,’ ‘divisive’ and ‘having a negative impact on fandom harmony.’

Its just always gonna be a little weird to me, how much your positivity culture looks a lot like plausible deniability culture instead.

But whatever. That’s just a me problem I guess. Definitely not something anyone else in fandom has anything to do with. Just like they have nothing to do with derailments or condescension or counter arguments to so many of the canon-based Dick Grayson posts I make, and this is also all my doing...wait...hang on. I think I got mixed up again somewhere. Dang it.

[rallamajoop]

The Witcher: The Games vs The Books

Coming to the fandom this late, I can only assume the relationship between the Witcher games and the original novels has been long since talked to death by others. But I'm far too fascinated by the whole glorious mess that is this canon not to want to get down some of my own thoughts about how it all fits together.

See, on the one hand, the games (Witcher 3 especially) are arguably only too dependent on the novels to stand alone. They do a wonderful job of picking up a number of unresolved plot points the books left hanging, and a woeful job of explaining so much a player coming in cold would really like to know – Ciri's history with Geralt, Yennefer, her powers and the Wild Hunt itself just to begin with. This is an issue that only increases as the games go along: cliche as Geralt's amnesia may be, it's used to good effect to introduce the world to the player in the first game. By the third, Geralt has all his old memories back and two extra games worth of new experience, and good lord is it all alienating to the newcomer.

On the other hand, so much about the games (again, the third especially) contradicts the novels in painfully irreconcilable ways. That wouldn't necessarily bother me – adaptations are allowed to rework and reinvent, stories can and should evolve in the retelling – except, well, see point one above. So you're bound to come out of the games with a lot of unanswered questions if you haven't read the books, and just as many if you have.

Spoilers to follow, of course, for both the books and the games.

Here's one of the big ones: just how did the world – Ciri included – discover that one of her long-presumed-dead parents was actually alive and well and now ruling the entire empire of Nilfgaard? Fucked if I know. Neither the games or the novels have any explanation. In the novels, in fact, the world at large believes Ciri is married to the emperor of Nilfgaard. Naturally, this 'Cirilla' is a fake, but the scandal were the full truth ever revealed would redefine Emhyr's reign. Yet somehow, in the games, everyone seems to know he's Ciri's father, and that whole awkward incest angle is never mentioned. Continuity has been tweaked pretty significantly, and it's left to the player to guess how. If that wasn’t bad enough, the games apparently still included a Gwent card of the fake!Cirilla (artwork above) just to ensure maximum confusion.

Before I get too sidetracked with all that stuff that doesn’t add up though, there really is a lot to be said for what does work about how the games expand on the plot of the novels. The Wild Hunt itself is the big one. The spectral cavalcade appears several times through the novels and hunts Ciri across multiple worlds in the final book before apparently losing her trail and vanishing to make way for the 'real' big bad, never to be mentioned again. While TW3 left me pretty underwhelmed by the revelation that the spectral Wild Hunt were just a bunch of dark elves in skull armor, the books had introduced the Hunt and let us spend some time on the dark elves' world before we get the reveal that the two may be one and the same. So for all the ranting I could do about missed opportunities regarding the Wild Hunt, they're the natural candidate for the games to pick up on as their new big-bads.

To my surprise, Geralt and Yennefer's "deaths" and subsequent recovery in pseudo-Avalon also comes straight from the novels. That everyone thinks Geralt dead at the start of the first game isn't, as I'd first assumed, a convenient excuse to have him reappear with amnesia, but simply how the novels end. Why Ciri leaves them and goes world-hopping isn't clear, but "because the Wild Hunt was after her again" is as good a theory as any. So, another point to the games there.

And there's so much more. The Catriona plague has only just appeared at the end of the novels, but we know it's posed for a major outbreak – one that’s in progress by the time of the games. The second game in particular does a terrific job of taking the ambitions of the expansionist Nilfgaardian Empire and the still-relatively-new Lodge of Sorceresses and building an entirely new conflict around them – even taking two of the least developed members of the Lodge (Sabrina Glevissig and Síle de Tansarville) and expanding them into major players. Dijkstra similarly ends the novels on the run from those in power, and having already taken the same assumed name 'Sigi Reuven' he's using in the games – while the books assure us that prince Radovid will grow up to pay back his father's assassins (ie. Phillipa) and become Radovid the Stern.

The twisted fairy tale origins of the novels are something the games actually seem to have gotten better at as they went on: the 'trail of treats' to the Crones is the great example, the monster-frog-prince and the land-of-a-thousand-fables of the expansions are two more, and many more are hidden in sidequests. And I'd be remiss not to mention that in again asking Geralt to pick a side in the conflict with the Scoia'tael, the first two games not only recreate a scenario Geralt repeatedly deals with in the books, but a major theme. It's interesting too how much the broad structure of the third game feels like an homage to the books, with Geralt searching for Ciri, interspersed with sections from her POV. You can nitpick the detail of any of these examples, but the intent is unmistakable, and a lot of credit is due for it in the execution too.

Some of the detail that's gone into translating the world of the Witcher books into the games is just insane – not just in the geography and history of the place, but right down to the names of the wine you can pick up. There's the fact the Cat potion makes Geralt see in black-and-white, or the fact the basilisk and cockatrice monsters are clearly based on the same model, but the basilisk is reptilian where as the cockatrice is more avian – which is exactly how Geralt describes the difference between them in The Lady of the Lake. There's a point where Book!Regis recounts a detailed list of all the lesser vampiric species, ending with the only two violent enough to tear apart their victims: almost all can be encountered in the games, and the last two (Fleders and Ekimma) are indeed the most animalistic. This kind of thing is everywhere.

My favourite examples tend to be those that blend into the background if you haven't read the books, but will get a grin from those who have, such as a peasant in Velen who will call out to Geralt (paraphrased from memory, alas) "Sir, sir! We be up to our ears in mamunes, imps, kobolds, hags, flying drakes... oh, and bats!" – which is a lovely little reference to a couple of conversations from Edge of the World wherein Geralt explains that most of the monsters the locals want him to take care of don't actually exist. Or all those soldiers chanting "Long live King Radovid!" – natural enough, but it takes on a whole new life if you've read the passage in Lady of the Lake where the young prince Radovid grumbles internally about having to sit and listen to the city chanting 'long live...' to every other notable figure present except him.

Really, it would be faster to list the things the games introduced that don't come from the original source material in any obvious form, because it's a struggle to come up with very many. The villainous Crones of Crookback Bog and Master Mirror of the Hearts of Stone expansion are the biggest ones that come to mind, along with a great deal of the vampire mythology from Blood and Wine. To the witchers themselves, they’ve added mostly game mechanics: the use of bombs and blade oils, the names of most of the potions, and three new witcher schools (all with their own specialised gear). There are a number of new creatures and monsters – Godlings, noon-and-night-wraiths, botchlings, shaelmaars and so on – and though trolls are mentioned in the books, the games take credit for giving them so much character. Obviously, there are new characters, like Thaller and Roche – but not technically Iorveth, because a Scoia'tael commander of that name is mentioned in the books, if only in passing. And already, short of just listing off every new character the games introduced, I’m running out of ideas. Credit where credit’s due on that front: most of the new characters and locations they’ve created feel authentic enough that Kalkstein or Thaller would be right at home in the novels’ world.

But for all their dedication to the detail, it's hard to feel like the games have really managed to capture the spirit of the books in their storytelling: the mundanely corrupt bureaucracy that does so much to bring the world to life, or their cheerfully cynical sense of humour, or the flamboyant wonder that is book!Dandelion, or their enthusiasm for putting women in positions of power, or the bigger themes about the differences between the story that gets sung by the bards and what really happened – or so much else from the novels that came as such a surprise to me when I started getting really sucked in.

And if we’re going to talk about all the little things they got right, it’s only fair to point out there are just as many little things they got wrong, and sometimes pretty glaringly at that. "I thought you bowed to no-one" says Emhyr to Geralt – almost as if book!Geralt doesn’t happily bow in most every situation where it would be polite or diplomatic to do so. "This would never have happened if the council was still around!" says Geralt upon finding a sorcerer's lab full of human experiments – as if none of his experiences with Vilgefortz or the wizards of Rissberg ever happened, back when the council was very much still around. In TW2, he mocks the idea of a woman like Saskia leading a rebellion – almost as if women like Falka and Aelirenn haven't led some of the most storied rebellions in history (and we can't even blame the amnesia, because Geralt himself mentions Aelirenn later – oh yeah, this one annoyed me particularly).

 Book!verse 'Lady of the Lake' is basically just Ciri being surprised while bathing

Yennefer's studious aethiesm and willingness to desecrate Freya's temple is entirely in character – but only if we forget that she had her own personal religious experience with the goddess Freya herself in Tower of the Swallow. And then there’s the fact the Lady of the Lake is now a literal lake nymph who distributes swords to the worthy, as if no-one writing for the games ever got past the title of that particular Witcher novel (let alone got the joke). And the list goes on. It's easy to get overly caught up in contradictions like this – it's hardly as if Sapkowski's novels don't contradict themselves in places, as almost any long-running series eventually will – but it's going to stick out to those who’ve read the novels nonetheless.

While we're talking about how the games pick up where the books left off though, the big contradiction that has to be touched on comes in bringing Geralt back at all, at least in any public capacity. There's plenty to suggest that Geralt survives the novels' end and even goes on to have further adventures, but it's also pretty explicit that the history books record his death in the Pogrom of Rivia as final. The last two novels by order of publication (Season of Storms and Lady of the Lake) go so far as to feature characters far in the future with an interest in Geralt's legacy, and they discuss the matter in some depth. As far as the world knows, Geralt is dead.

  Book!Geralt fanart by Diana Novich

But it's hard to blame the games for ignoring this – true, thanks to Geralt's longevity, they could have set their conflict many more years after those future scenes – maybe even used Ciri's established time-travel powers to let you pop quietly in and out of the past (and, okay, now I've thought through all that, I'm kind of sad they didn't). But there comes a point where that kind of slavish devotion to preserving the source material really doesn't do a story any favours, and I'm not sure I could name any other successful adaptation that's bothered.

Besides bringing Geralt back at all, most of the bigger changes pertain to Ciri. In fact, as much as I'm about to get deep into the nitpicks below, you can make a surprisingly good case that the games have made only one really big change, and that's in simplifying the prophesies surrounding her. See, in the novels, all those world-saving prophesies aren't technically about Ciri, they're about her as-yet-unborn child. Who gets to impregnate her is the big driving force behind most of the villains of the books – one that all the main contenders seem to see as more of an awkward necessity rather than the inspiration for violent lust, but even so. To Emhyr, having to marry his own daughter is a bug, not a feature – but he's willing to do it to become the father of the savior of the world. But if Ciri is capable of fulfilling those prophesies herself, then Emhyr is already the father of the savoir of the world, and the revisions to his relationship with Ciri start to make a lot more sense.

Ciri's history with the Aen Elle elves seems to have been similarly revised – if not quite so cleanly. Avallac’h and Eredin are, naturally, both book characters – in fact, a lot of personality has been left behind in the books, since Avallac’h originally had a rather camp flair, and Eredin is less the power-hungry kingslayer you might imagine. When Geralt meets Avallac’h in the books – which happens briefly in Toussaint, for one of those "everything you're doing is going to make everything worse because prophesy" conversations – he's busy decorating a cave with fake prehistoric paintings in the hope of confusing future explorers. (Surprisingly, there does seem to be official art of this moment on one of the gwent cards – see above – though the Avallac’h who jokes about adding erect phalluses to the picture and admits his vanity won’t allow him to resist signing it hasn’t entirely survived the transition to the new medium).

We also meet the former Alder King, Auberon, whose death we see in flashback in the game. (Fun fact: Auberon is actually blowing bubbles through a straw in a bowl of soapy water when we first meet him in the books, hence the straw in the illustration below. The books just have more whimsy than any of the games would know what to do with.)

Ciri spends some time in the final book as a prisoner on the world of the elves, who are as keen as everyone else for their king to father her unborn child. Avallac’h eventually convinces her that this is all for the greater good: her child will be able to open gates to allow the people of her world to escape when the apocalyptic White Frost arrives. But their king, like most older elves, is impotent, leading to multiple nights where Ciri allows him to take her to bed (in some of the frankly more disturbing scenes of the series) to no result. Eredin, moreover, doesn't appear to have intended to poison the king: the vial that kills him was supposed to contain some sort of fantasy viagra, and even Eredin seems genuinely shocked to learn its actual effects.

Regardless, Ciri eventually discovers that Avallac’h and the Aen Elle have deceived her, and intend to user her child's powers to invade her world, not save it. Neither world is threatened by the White Frost for at least several millennia, it's just a pretext to make her cooperate. And so she flees, and Eredin (already leading his Red Riders aka The Wild Hunt long before he was crowned king) pursues her.

With the books as context, why Ciri would ever trust Avallac’h is very hard to understand. It's a little easier if that whole awful episode with her and the former king is subtracted out – Ciri's child is no longer necessary for Eredin's goals. So it's odd that the game still references the deadly vial Eredin gave to the king. Are we to suppose the vial genuinely contained poison in this version of continuity? I'd rather it didn't – Avallach's ruse is far more interesting if he underwhelms Eredin's support by revealing a half-truth – but the games aren't telling us.

And then we have to factor in that one last detail I'd forgotten when I originally started playing with this theory: TW3 does contain one last, dangling reference to the time the old king spent trying to impregnate Ciri, when Ge'els very reasonably asks why on earth Ciri would ever trust Avallac’h now. It's a damn good question, and the game offers no real answers. So in Avallac’h, we're left with a character who is vital to the final chapters of the games, who comes out of nowhere without the books as context, but whose role makes no sense with that backstory in mind. Frankly, the writers would have been much better off avoiding the whole mess altogether and inventing some new character to take Avallac’h's place.

The treatment of the White Frost is even more confusing. The books are ultimately fairly explicit about just what the White Frost is: a ice age, most likely caused by the same mundane climactic factors that produced the real ice ages of our history. The only escape is intergalactic emigration, as Ciri (or her children) might some day enable.

In the games, the White Frost has instead become some sort of nebulous, free-floating apocalypse which will eventually reach all worlds, which is basically fine – up to a point. We briefly visit a dead world that the Frost has decimated, and even the Aen Elle are now supposedly planning to invade Ciri's world because it threatens theirs as well (I mean, apparently – their motivations are so underdeveloped you could miss them by accidently skipping just one or two lines of dialogue). When the Wild Hunt appears, it's always in a haze of cold. Their mages can invoke its power still more dramatically through portals which can freeze you in your tracks. So obviously, the Frost has already reached their world, and time is running out, right?

Well, no – you visit their world too (again, briefly – to meet a character who has never been mentioned before and won't be again, for reasons which have also never been mentioned before if you haven't read the books) – and there's no Frost in sight, apocalyptic or otherwise.

So why does the White Frost follow the Hunt around? No idea. It's never explained.

At the very end of the game, a second "Conjunction of the Spheres" occurs (possibly because of the Wild Hunt's appearance?), and the Frost begins to invade (or possibly Avallac’h summons it, so Ciri can go into it and destroy it?) It's all painfully unclear. The game is too busy pulling a bait-and-switch over whether Avallac’h's betrayed you to tell you what's actually going on instead.

But if Ciri could destroy the Frost completely (at great personal risk, but still) why is this not more clearly set up? Why did the Aen Elle think that escaping to another world (which will ALSO eventually be destroyed by the Frost) was a better solution than sending Ciri to face the Frost directly? For which matter, why do the Aen Elle need Ciri at all if sending enough ships to carry an army is no problem? Why does Ciri spend so much of the game questioning Avallac’h's true intentions, if they were ultimately so noble? When did he tell her the truth? If Avallac’h did summon the Frost, why did he pick that particular moment? And if he didn't, and it all just happened spontaneously, we're back to questioning why invading that world ever seemed like a good solution to Eredin – it all collapses in on itself.

None of these questions couldn't have been answered with a little creativity, but then the game would've had to dedicate some real time to explaining its backstory and developing its core conflict – something it's bizarrely reluctant to do. And if you think I may be drifting from the point a bit in the name of getting all my gripes about the ending down in one place, you're not wrong, but I feel Avallac’h and everything surrounding him is pretty much the ur-example of what doesn't work about the way The Witcher 3 depends on the novels: the backstory the writers are building on doesn't actually exist in any format available to the rest of us.

There are plenty of ways TW3 could have incorporated its backstory into its own narrative (yes, even excluding the method "by expecting people to read many many more pages of text from in-game documents", because that's bullshit and always will be). There are times it does this brilliantly, such as in the quest ‘The Last Wish’: everything you really need to know is covered in Yennefer and Geralt's conversation in the boat, and without ever making the dialogue sound unnatural. In fact, TW3 has even more options here than many works with the same problem, because Geralt is famous and people already think they know his story. You could have bards singing Dandelion's ballads, you could have characters confronting him with misunderstandings about his past to force him to correct them. You could also have Geralt visiting people and places he knows Ciri remembers fondly because of the time they spent there together, or include playable flashbacks similar to the time you spend playing as Ciri. You could stick chunks of backstory in optional sidequests or scenes old-school fans can skip through quickly. So many of my questions (how did Ciri get so close to Yennefer if they were never at Kaer Morhen together? Why has no-one tried training Ciri in her powers before? What does the Wild Hunt even do while it's not hunting Ciri? Why is Ciri princess of Cintra if her father is Emperor of another country altogether?) could have been answered so easily.

Seriously, summarising the Witcher books is not that hard. Lots of things happen, but only a fraction of it is really relevant in retrospect, and you could hit all the major plot beats in a handful of paragraphs. (Heck, I’d do it here if this post wasn’t already ridiculously over long.)

But then, TW3 has a bizarre problem with leaving so much of its best material off screen, even from its own story. It's criminal that we never get to see any of Geralt's time (or Yennefer's) with the Wild Hunt, even in flashback or dream sequence. This is material that directly sets up the relationship between the main hero and the main villain, and the most we ever hear about it is a few vague allusions to it being like a strange nightmare. Really? That's it? What was it like? Was Geralt in a trance, unable to control his own actions – was he brainwashed into believing he belonged there, or was he merely unable to escape? What atrocities might Eredin have forced him to commit? Did he visit other worlds? Was he paraded among the Aen Elle as a captive? There is no way this isn’t a part of the story worth talking about!

We never see the moment Ciri rescues Geralt from the Wild Hunt. We never see how Avallac’h convinces her to trust him, we never see the moment he was cursed, or any of her efforts to save him – all these big, story-defining moments are left off-screen, to be vaguely recounted to you later in dialogue. Then there's the entire political situation in Nilfgaard – you hear about it second-hand, and it's all resolved off screen. And the list goes on. Yet you and Ciri still have time to run around Novigrad so she can thank a bunch of throwaway characters you've never even heard of before, nor will again. The priorities on display here are baffling.

The Witcher 3 was such a wildly successful game that it’s obvious these sorts of issues didn’t seriously hold it back, and it’s such a big game that I could have sat down and written just as many words focusing only on the parts that do work without much difficulty. It boasts stunning visuals, addictive gameplay and some truly wonderful characters, and so many parts of the story work brilliantly in isolation that it’s strange to come out of it feeling that it ultimately adds up to so much less than the sum of its parts.

I’m glad TW3 exists – if it hadn’t been such a runaway success I doubt I’d ever have discovered Sapkowski’s universe at all, but for myself, TW3 will probably always be remembered as a somewhat-overlong introduction to the really good stuff, in the expansions and the original novels it came from. I looked up the novels after finishing TW3 in large part because I’d been left with so many unanswered questions – and I’m glad I did, but I’m honestly surprised more people weren’t turned off by TW3′s scattershot approach to its own narrative. You’re allowed to change and rework in moving to a new medium, but I can’t imagine it would’ve hurt games’ success to tell a complete story in the process.

[chalkrevelations]

And finally, here we are, Episode 36 of Word of Honor, and I have some FEELINGS. Let me show you them.

There also will be Episode 37 here, btw, because I’m not gonna do a separate reaction for a three-minute episode, no matter how grateful I am that we got it.

(Spoilers, so if that’s not what you want right now, scroll on by and come back after you’ve watched it. Them.)

Let’s get to the meat of the episode right away: THE HAIRPIN. And Wen Kexing knowing Zhou Zishu would have it, because he’d definitely take it with him if he was going on a suicide mission! Y’all. I really have to yell about this for a minute: That’s how secure WKX has become in his knowledge of what he means to ZZS! After all that time angsting and hiding the truth of his identity and worrying that he’s not worthy of ZZS and that he’d be rejected if ZZS knew the truth about him! But now, WKX has finally reached a point where he understands and knows (zhiji, the one I know) he’s so important to ZZS that ZZS would never ever go off to die without taking his most precious possession, the hairpin that his husband gave him! I can’t. My heart. This is like a declaration, after all that time saying they were zhiji, that WKX finally is able to truly see ZZS as that, to know him in his bones, and all of this is also delivered in the middle of WKX in a strop, irritably chastising his husband as an evil brat for running away from home to get himself killed, with Gong Jun’s little  >:(  face in full effect, and I am so filled with love for this show and this couple at this point that I have to pause Youtube just so I can roll around on the sofa, clutching at my chest and scaring the cats with my inarticulate noises. This is so good, y’all. It’s everything I’ve ever wanted. Also, now you know how it feels, WKX, you asshole. Which I suppose is why you even confess that it will would be more painful for the one who survives when if the other dies. And you were prepared to do that to him a second time? I cannot believe you, you asshole. You get to sleep on the ice couch for a month.

And then there’s some Six Cultivation Power mind-melding and what looks to be an INCREDIBLY STUPID and HEARTBREAKING ending that would leave us Burying One of Our Gays, so it’s a good thing Episode 37 (all three minutes of it) exists. It would be nice, though, if the connective tissue from 36 to 37 made any sense. Or existed whatsoever. Just, like, throw me a bone, here, show. Some kind of explicit hand-waviness that actually gets mentioned for why Ye Baiyi apparently was not as smart as he thought he was and didn’t really know what he was talking about when he was doomsaying about how one of the pair will surely, oh surely perish. None of this “Sooooo, they managed to figure out the technique and master it?” from some random shidi who never actually gets an answer. I mean, the door was left open for fanwankery on this one, with what looks to be a very last-minute conceit of all this being a story told by grown-up Chengling to his disciples, which begs the question of how much of what he’s telling them is totally accurate, given any number of issues, including the spottiness of human recall, the possibility (based on the fact they’re still on the mountain in Ep 37) that Chengling never actually saw either of them again to get the full story, and the way Gao Xiaolian basically calls bs on the whole thing. But this is still a gossamer-thin thread on which to hang Ep 37. Ep 37 basically functions as reassurance because of the mere fact of its existence, because they’re clearly both alive, right there in front of your face, regardless of the other fact that it doesn’t actually make any sense, based on Ep 36. It ultimately doesn’t matter if there is no Step 2, because Step 3: Profit! is … right there. In evidence. Happening. On your screen. No matter how vaguely unsatisfying the lack of Step 2 may be.

I do feel like there’s an interesting meta thing going on here, in that the entire show has been about – let’s be honest, it was never really about the plot - queer-coding this couple in ways that supposedly fly just enough under the radar that people can handwave them as Just Good Friends and Brothers (I mean, I guess) with a Bury Your Gays tragic ending (ugh) for good measure. And Chengling is telling a story in-universe that seems to conform to some of this same formula. And yet, we all know well and good that these guys were husbands. (I mean, barring anything else, they’re a couple in the original source material, so checkmate, censorship.) So, are we supposed to carry the same assurance out of the show, on a meta level, that what appears to be happening at the end of Ep 36 - what we discover we’re learning through Chengling’s story-telling - isn’t really the truth? Just, look: While we’re getting the Good Friends and Brothers push, there’s stuff like obvious voice-over work that doesn’t match the much more queer version of what the actors actually said, which is apparently blazingly clear to any viewers who know Mandarin and can manage to lip-read. The show has literally put de-queered words into these characters’ mouths. You can’t trust what you hear. But apparently the show has also made this obvious enough that, if you’re a good enough speaker of the language the show is being told in, and you have a good enough eye, you can see what is actually going on. Are we being taught to trust our eyes more than our ears, are we being told that what we’re being told - by the end of Ep 36 on a meta level, by Ye Baiyi-through-Chengling’s-story on an in-universe level, and by what we learn about what happened from Chengling’s story, itself, also on an in-universe level - is inherently untrustworthy, but that if we “speak the language” of this show well enough, and have a good enough eye, we can decode it and see what “actually” happened and is later made explicit in Ep 37? Is Ep 37 canon? Does it matter, when “what is canon” is already so slippery on this show, where you can apparently lip-read something that’s different than what you’re hearing, and it functions as canon because of the mere fact of its existence, because it’s clearly … right there. In evidence. Happening. On your screen.

Anyway, just some thoughts on all that, which I guess is my own fanwankery work to join up the end of Ep 36 with Ep 37, which was, of course, delightful. No matter how much I might bemoan the lack of Step 2, I had a stupid, dopey grin on my face all the way through Ep 37 and might have even teared up a tiny bit at the very end. You can’t prove anything. Lemme tell you, though, it’s a good idea to have 37 on hand when you run into the brick wall of the end of 36, because while WKX’s willingness to sacrifice himself for love is theoretically great, it is not something I actually want to see come to fruition, given the pall it would cast over the entire joyous experience that the ZZS/WKX relationship is throughout the rest of the show. Sure, there’s always fic, but there’s a heaviness that hangs over the Bury Your Gays trope, and it’s retroactively ruined shows for me before. So THANK YOU, to those of you who hooked me up so I could immediately move on to Ep 37.

What else? Other things:

OK, so, first, I have to get this out of the way: Did we actually already see all of those “flashbacks” we get in the first part of the ep, during the conversation between Zhou Zishu and Jing Beiyuan, when all the political stuff is supposed to be finally falling together to give us the big picture? I would have to go back and scrummage through those eps to be sure, and I’m not going to spend time doing that (yet) when I still need to do some keysmashing about Zhou Zishu and Wen Kexing OH MY GOD, but I do feel like some of this was new information, not just stuff that I’d glossed over because it didn’t seem important at the time? If so, not on, show. I will be keeping an eye out for that on re-watch. I am, however, perfectly willing to accept – if it turns out to be true – that you utterly distracted me with the failboats-in-love storyline, to the detriment of my focus on, you know, plot or whatever. It’s happened before. (It’s one of the reasons I need to go back and watch The Untamed again, at some point.)

OMG FAKE KEY! And as ZZS points out, this has been foreshadowed for us from early on, with WKX’s fake Glazed Armors plot. :bangs table with fist: YES. This show is going to reward re-watching SO MUCH.

Duan Pengju, oh my god, this asshole. The look on his face when the Armory didn’t open was so gratifying. Also, ha. I wondered when ZZS was finally going to be done with his shit. In fact, so much gratification in this whole scene. Xie Wang’s face when he realizes WKX double-crossed him – what, did you think you were the only tricksy one in that little alliance, Xie’er? And, holy shit – I cannot believe that Xie’er actually words this as WKX failing him, taking us back around to this theme one more time again. I would maybe feel a little worse for you if you hadn’t been a hairsbreadth away from killing him before ZZS stopped you in the last ep, Xie’er. Also if you hadn’t helped get A-Xiang killed. So I think the fail in this relationship is going both ways. Unfortunately, it doesn’t look like you’re going to get the time WKX had to start untangling yourself from the ways your abuser has fucked you up and over.

It once again becomes blindingly clear why ZZS has been my ride-or-die during this whole thing: Under the grumpy, irritable, day-drinking yet somehow eminently practical exterior, he’s actually an idealistic do-gooder who just wants to make the world a better place for people and sacrifice himself for great justice. Never let it be said that I don’t have a type. Also, I mean. Zhang Zhehan’s FACE. Let’s don’t discount the power of that.

Final word: Don’t miss Ep 37. All three minutes of it. They are perhaps the most important three minutes of the entire show.

(I mean, not FINAL final word. I expect to be going back for a re-watch and posting more things, particularly on eps from before I started typing up 1000K-word reactions this first time around.)

[deltaengineering]

that was the winter anime 2021 that was

Still not quite ready for a dozen posts about how terrible the likes of Combatants Will Be Dispatched are, sorry. Watch Vivy though, it owns. Here’s some more things that are (mostly) good. As always, worst to best.

Yatogame-chan Kansatsu Nikki S3

Yatogame has long run out of hot Nagoya facts and its ensemble comedy never amounted to much, so now it seems mostly content to just spam more and more wacky character designs. About the only thing that it has left going for it is that 3 minutes a week are more effort to drop than to watch, so I expect them to make a movie next. 4/10

Go-toubun no Hanayome S2

Quints is a weird one. S1 was a barely good enough (i.e., well above average) implementation of the ages old harem chestnut. S2 is actually better at the core of its appeal, since it gives all the characters a sharper profile (things like taking Nino from joke to badass and making Ichika a villain are no mean feat), but it does pay a steep price for it. You see, to deliver a steady drip feed of meaningful character moments it apparently has to rush through the source material at a breakneck pace, which completely wrecks the "story" part of this story and makes every episode seem like a recap. And it still keeps wasting precious time on vestigial nonsense like its framing device and the Kyoto flashback scenario that was already the worst part of S1. But by far the most annoying aspect is its insistence on keeping all the options valid, since it prevents any real progress and makes everything seem arbitrary and pointless. So sure enough, after a season of much ado we still don't end up anywhere — you can't really raise the stakes if all at stake was "who wins" to begin with. It's watchable and even enjoyable scene-for-scene but it's getting harder and harder to call it a solid show overall. 5/10

Skate Leading Stars

I was watching this primarily because I didn't like Yuri on Ice much and wanted to see if something that is a blatant attempt to cash in on it would be better — because while YoI delivers on one aspect (being hella gay), it really is an absolute shambles of a sports show. And sure enough, Skate Leading has none of the auteur appeal of YoI, but it just works much better. In particular I appreciate how it managed to make me care even a little about a cast of assholes, which is a nice contrast to the nauseatingly ingratiating way YoI tries to make you love its characters. Also, Skate Leading is just generally cheap and unambitious, so not susceptible to trying hard and painfully flaming out on the presentation side like YoI is. But at some point you gotta let go of these comparisons and on its own Skate Leading is... just fine, I guess? Competent, mildly engaging, not very memorable. And that's probably where it loses to Yuri on Ice in the end after all, even if I think it's "better". 6/10

Idoly Pride

Idoly Pride sold itself on me with a really good (and hilarious/tragic) first episode that was just too bizarre to ignore — I mean, how can you ignore GHOST IDOL MANAGERS. Well, the majority of the show isn't like that. It's a competent and solid version of the idol franchise show, yes, but it really had more potential than that. Especially midseason, it gets lost in these dozens of characters, and while they're all likeable, it does seem like a waste of a good story just centered on Mana/Kotona/Sakura. By the end it comes back around to the heart of the matter with a Maeda-style sob story, which could be a disaster but seasoned veteran Jukki Hanada makes it work anyway. Overall, there's quite a bit of ridiculous hacky melodrama in this, but quite honestly that's the best part and I wish it would concentrate more on it. The rest is just okay. 6/10

Yuru Camp S2

Yuru Camp is still likely the best pure iyashikei show when it gets down to business. Compared to S1 though, this seems to happen less and less. At its peaks (i.e., basically any quiet moment with Rin) it's at least as good as ever, and there's some good cast additions like Mini-Inuko, but it appears that Yuru Camp simply has run out of things you can do with camping and it fills up the time with other... stuff. This stuff includes the generic school club shenanigans it was never particularly good at, and a gigantic helping of crass consumerism. Yeah, I would say the majority of Yuru Camp is just a straight up infomercial at this point, which itself ranges from the perfectly acceptable (which cute anime isn't about food constantly), to the sketchy (I don't know whether the Izu tourism board cut this production a fat check, but if they didn't, Yuru Camp still gives its best effort to make it seem that way) to the highly irritating – I am aware that camping requires gear and you can't just ignore that, but you most definitely do not require whole arcs dedicated to talking about raising funds for the purposes of acquiring the Lamp of Comfy Happiness at your friendly local Caribou™ either. Not to mention an arc where the aforementioned lame school club does the same, for double irritation. Make no mistake, this show is so riddled with scenes that beg for a solution to embed affiliate links in video files that it makes me wish I was watching something as anticapitalist and underground as Love Live. And irritating really is the last thing a show with this core concept, as stellar as it is at that, can afford to be. Bummer. 6/10

SKOO the Infinity

Skoo has one really huge asset: ADAM, its magnificent villain. It also has one really huge liability: Reki, its not magnificent protagonist. To be more specific, it's very good at anything outrageous, physics-defying and silly, such as most scenes ADAM is in, and quite bad at anything serious, dramatic (in a serious way) and down to earth, such as most scenes Reki is in. So, what's the verdict? Well, the rest of the cast is more ADAM-like, and Reki's co-protagonist Langa is fine as the straight (yeah, right) man. The tedious buddy drama is a comparatively small part of this show, and at least it pays off quite well in the end. Seriously, I was ready to give this a 6, but the final episode is probably the best one of the show, in all of its aspects. That's really not something you see often. Skoo's a great time. Except when it's not. 7/10

Non Non Biyori Nonstop

Speaking of the rare good ending, what about we gave one of those to a slim and inconsequential slice-of-life show? NNB has always been solid, comfy and amusing quality with a couple of standout moments (usually something with Renge), and Nonstop has that plus an ending as conclusive as any show of this type is ever going to have. Besides, it does a lot of things right by focusing on more characters than the central 4 (especially Konomi has great material in S3), it expands the universe just enough to not get stale, and it moves things forward — It's definitely a lot better than the movie, is what I'm saying. Apart from that, well, we're three seasons in, if you have any interest in this you probably don't need me to explain what's good about NNB at this point. Bonus points for being nothing but an ad for the manga. 7/10

Wonder Egg Priority

Oh boy, so here's the big one. Wonder Egg is the rare Meaningful Arthouse Show About Real Issues You Guys, as you might have heard. And well, the long and short of it is that it's a very good show with quite a few glaring problems (besides not actually being finished due to production issues, but what we have is enough of an ending to be able to meaningfully talk about it). In particular, one problem: WEP is, at its core, one of these metaphorical Magical Girl-ish series that are just a thin layer of abstraction over coming-of-age or societal problems. The issue is that "metaphorical" in this case means "literal" and "thin" means "basically nonexistent". This show is not subtle regarding what it's about, at all. This is a double-edged sword — on the positive side, some things really should just be said aloud, and I'm really, really fucking tired of the Ikuhara style of "here's some wacky things, maybe a blog post will eventually tell you how it's actually about the most important thing ever" obfuscation — if it's really so important, just spell it out. On the other hand, there are limits to this and when a second, different Ai appears I don't really need a voiceover line telling me that yep, this show is about parallel universes now. WEP spells out many important things, but it also spells out many things that are implicitly clear or better left vague. Not to mention that with being so obvious up front, the show's tendency to leave figuring out what it's actually saying about it up to the viewer can leave the wrong impression. Again, I settled on the opinion that it's subtle after all where it counts the most, but you might easily get the impression that it pulls its punches (Ikuhara does this the exact other way around — once you figure out what the fuck he's talking about it's abundantly clear what he's saying about it).

In fact, this show is so good at subtle, quiet character moments that it calls into question the need for big huge fighting fantasy layer in the first place, especially since I'm not a fan of the fantasy designs and the fights aren't great. Sure, they look impressive on a technical level (this show is very good looking in general), but the lack of actual impact or rhythm makes me think this is not made by people who are very familiar with action and maybe they should have asked some seasoned shounen veterans for this — or just, you know, not do it. They can (and do) impress with character acting in quiet scenes just the same. And while Ai's character story actually does pay off quite nicely by the end we got, and Momoe and Rika are also handled well, Neiru's backstory is significantly less good, not to mention the whole Frill subplot regarding the show's mythology that they introduced just before (and that's the part to be resolved at a later date), which is a huge can of worms. We'll see how well they handle that, I suppose, but as it is it's a weird and vestigial detour that doesn't add much besides thematic headaches.

But yeah, apart from all that — I like it, a lot. Great character writing in the details, cool looks for the most part, tons of ambition, and a message that I consider to be appropriately handled — for the most part, and for now. Not quite ambitious arthouse anime at its finest, but also not a pretentious disaster like Sarazanmai, Monogatari et al. 8/10